THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 


BEQUEST 
OF 

Howard  A,  Judy 


'*-,-  'Loo  V  vLojJ^  Ava,.  'Sf^  ^      (5- 


.^ 


THE 

DREAM  CITY 


ITS  ART  IN 
STORY  AND 
SYMBOLISM 


BY 

ROSE  V.  S.  BERRY 

M 

DOCENT  AT  THE  PALACE 
OF  FINE  ARTS 
PANAMA-PACIFIC  INTERNATIONAL 
EXPOSITION 


COPYRIGHT,     I  9  I  s 

BY 

MRS.  ROSE  V.    S.    BERRY 


WALTER     N.     BRUNT 

PUBLISHER 

BaO     MISSION     STREET 

SAN    FRANCISCO 


lOAN  STACK 

Xadn 
GIFT 


INTRODUCTION. 

If  "the  proper  study  of  mankind  is  man"  then  to 
study  the  achievement  and  creation  of  man  is  to 
study  the  very  best  of  man ;  and  when  this  achieve- 
ment and  creation  is  given  voice  by  the  world's 
greatest  artists  in  architecture,  sculpture,  poetry, 
painting  and  symbolism,  then  it  truly  behooves  us 
to  study  well  the  message  they  have  given.  In  the 
art  and  symbolism  of  the  Panama-Pacific  Interna- 
tional Exposition  we  have  a  great  culmination  in 
this  line  and  on  every  hand  we  find  beautiful  things 
laden  with  meaning  which  to  miss  is  an  infinite  loss. 
The  mission  of  this  little  book  is  in  a  small  way 
to  give  assistance  to  those  who  would  enter  into  an 
understanding  of  these  utterances  in  thought,  color 
and  stone. 

Rose  V.  S.  Berry. 


3 

890 


THE  DREAM  CITY 


CHIEF  OF  DEPARTMENTS. 

Architects — Mr.  Geo.  Kelham  of  San  Francisco. 

Sculptors — Mr.  Carl  Bitter  of  New  York  and 
A.  Stirling  Calder,  his  acting  Chief,  also  of  New 
York. 

Color — Jules  Guerin,  New  York. 

Landscape  Gardening — Mr.  John  McLaren,  San 
Francisco. 

Illumination — Mr.  W.  D'Arcy  Ryan,  San  Fran- 
cisco. 


ITS  ART,  STORY  AND  SYMBOLISM 


ARCHITECTS  AND  THEIR  WORK. 

Chief  of  Architects — Geo.  Kelham  of  San  Fran- 
cisco. 

Festival  Hall — Robert  Farquhar  of  Los  Angeles. 

Horticultural  Hall — Bakewell  and  Brown  of  San 
Francisco. 

Tower    of    Jewels — Thomas    Hastings    of    New 
York. 

Court    of    the    Universe — McKim,    Meade    and 
White,  New  York. 

Court  of  Four  Seasons — Henry  Bacon  of  New 
York. 

Court  of  the  Ages — Louis  Christian  Mullgardt, 
San  Francisco. 

Italian  Towers  "I  ,-        t^  ,, 

„  r  T-.  1  Ceo.  Kelham 

Court  of  Falms  >  ^       t- 

^  .  „,  1  San  rrancisco 

Court  of  flowers  j 

Machinery  Palace — Clarence  Ward  of  San  Fran- 
cisco. 

Palace  of   Fine  Arts — Bernard  R.    Maybeck   of 
San  Francisco. 


THE  DREAM  CITY 

Palace  of  Varied  Industries 

Palace  of  Mines 

Palace  of  Manufactures 

Palace  of  Transportation 

Palace  of  Liberal  Arts  /        * 

Palace  of  Education  ^   ^an  Francisco 

Palace  of  Agriculture 

Palace  of  Food  Products 

All  Portals  and  Minor  Courts  J 

MURAL  PAINTERS. 

Milton  Bancroft — Court  of  Four  Seasons. 

Frank  Brangwyn — Court  of  the  Ages. 

William  De  Leftwich  Dodge — Tower  of  Jewels. 

Frank  Vincent  DuMond — Western  Arch  (Court 
of  Universe). 

Childe  Hassam — Shower  of  Blossoms,  Court  of 
Palms. 

Charles  Holloway — Pursuit  of  Pleasure,  Court 
of  Palms. 

Arthur  F.  Mathews,  Victorious  Spirit,  Court  of 
Palms. 

Robert  Reid — Rotunda,  Fine  Arts  Palace. 

Edward  Simmons — Eastern  Arch  (Court  of  the 
Universe). 

6 


ITS  ART^  STORY  AND  SYMBOLISM 


SCULPTORS. 

Herbert  Adams — Priestess  of  Culture,  Fine  Arts 
Rotunda. 

Robert  Aitken — Earth,  Air,  Fire,  Water,  Ele- 
ments, Court  of  Universe.  Fountain  of  Earth, 
Court  of  the  Ages. 

John  Bateman — Caryatids,  Horticultural  Build- 
ing.   Caryatids,  Court  of  Flowers. 

Chester  Beach — Three  groups  making  Human 
Altar,  Court  of  Ages. 

Solon  H.  Borglum — American  Pioneer,  Statue 
Court  of  Flowers. 

E.  L.  Boutier — Work  upon  Horticultural  Palace. 

B.  Bufano — Medallion  of  Arches  of  East  and 
West. 

Edith  W.  Burroughs — Fountain  of  Youth — Ar- 
cade— Tower  of  Jewels. 

A.  Stirling  Calder — Fountain  of  Energy,  South 
Gardens.  The  Star,  around  balustrade  in  Court 
of  Universe.  Flower  Girl,  in  niches  of  balcony  of 
the  Court  of  Flowers.  Groups  upon  Arches  of 
East  and  West,  of  the  Court  of  Universe. 

Earle  Cummings — Man  carrying  wreath.  Pal- 
ace of  Education. 


THE  DREAM  CITY 

Ulric  H.  Ellerhusen — ^Women  Flower  Boxes, 
Fine  Arts  Palace. 

Frank  E.  Elwell — "Acroterium" — Victory  on 
Palace  Gables. 

John  Flanagan — Adventurer,  Philosopher,  Sol- 
dier, Priest,  figures  upon  Tower  of  Jewels. 

James  E.  Eraser — "End  of  the  Trail,"  statuej 
Court  of  Palms. 

Daniel  C.  French — Genius  of  Creation,  in  front 
of  Machinery  Hall. 

Sherry  E.  Fry — All  work  and  ornamentation  of 
Festival  Hall. 

Carl  Gruppe — Fairy  upon  Italian  Towers. 

Gustave  Gerlach — Tympanum,  Education  Palace. 

C.  R.  Harley — Abundance,  Triumph  of  the 
Fields,  in  niches  of  west  facades  of  Education  and 
Food  Products. 

C.  H.  Humphries — American  Eagles. 

Albert  Jaegers — Sacrifice  Group,  Court  of  Four 
Seasons.  Sunshine  and  Rain,  Court  of  Four  Sea- 
sons. 

August  Jaegers — Abundance,  figure  on  arches. 
Spandrels,  of  arches. 

Isadore  Konti — Frieze  at  base  of  Column  of  Pro- 
gress. 

Albert  Laessle — Lions  in  Court  of  Flowers. 


ITS  ART,  STORY  AND  SYMBOLISM 

Leo  Lentelli — Angel  of  Peace  and  Equestrian 
spandrels  on  east  and  west  Arches;  Aspiration,  over 
Fine  Arts  door;  Water  Sprite  in  the  Court  of  the 
Ages.  Lentelli  collaborated  with  Calder  and  Roth 
in  the  groups  of  the  Nations  of  the  East  and  West 
in  the  Court  of  the  Universe. 

Evelyn  B.  Longman — Fountain  of  Ceres,  Court 
of  Four  Seasons. 

Paul  Manship — Groups — Music,  Love  of  Danc- 
ing— Court  of  Universe. 

Hermon  A.  MacNeil — Frieze  of  Atlas,  Court  of 
Universe.  Frieze  and  Bowman  Group,  Column  of 
Progress. 

Allen  Newman — Pirates  in  the  Spanish  Renais- 
sance.    Portals  on  the  north  facade. 

Charles  Niehaus — Cortez,  near  Tower  of  Jewels. 

Haig  Patigian — Ornamentation  and  sculpture  of 
Machinery  Palace. 

C.  Peters — Panel  of  Education  Palace. 

Furio  Piccirilli — Groups  in  niches  of  Court  of 
Four  Seasons. 

Arthur  Putnam — Mermaid  Fountains,  South 
Gardens. 

F.  G.  R.  Roth — Nations  of  East  and  West,  Court 
of  Universe. 


THE  DREAM  CITY 

Charles  C.  Rumsey — Pizarro,  near  Tower  of 
Jewels. 

Ralph  W.  Stackpole — Figures  in  Spanish  Portal, 
Varied  Industries  Palace.  Thought,  figure  on  Pal- 
ace of  Education.    Man  with  Pick. 

Cesare  Stea — Panels  on  Education  Building, 

T.  M.  L.  Tonetti — Equestrian  figures  on  Tower 
of  Jewels. 

Edgar  Walters — Fountain  of  Beauty  and  Beast, 
Court  of  Flowers. 

Albert  Weinert — The  Miner,  Varied  Industries 
Palace,  Primitive  Man  and  Woman,  Court  of  Ages. 
Evolution  of  Man,  Evolution  of  Woman,  Humanity 
Altar,  Court  of  Ages.  Woman  carrying  Book, 
Education  Palace. 

Adolph  A.  Weinman — Fountains  of  Rising  Sun 
and  Setting  Sun,  Court  of  Universe. 

Gertrude  V.  Whitney — Fountain  of  El  Dorado, 
Tower  of  Jewels. 

Mahonri  Young — Panel  on  Manufactures  Palace. 

Bruno  L.  Zimm — Panels  around  Rotunda  of  Fine 
Arts. 


10 


The  Panama-Pacific  International 
Exposition 

In  celebrating  the  cutting  through  of  the  canal  by 
this  great  exposition  the  people  of  the  United  States 
are  for  the  first  time  in  history  celebrating  a  con- 
temporaneous event.  Nothing  has  been  left  undone 
that  could  in  any  way  add  to  the  greatness  of  the 
occasion  and  it  is  with  just  pride  that  we  look  upon 
the  completed  project,  and  feel  that  it  is  truly  great. 

The  work  that  has  been  accomplished  can  scarcely 
be  appreciated  by  those  seeing  the  site  for  the  first 
time.  Two  years  ago  it  was  a  boggy,  wave-lapped 
shore ;  today  it  is  crowned  with  exhibit  palaces  and 
covered  with  flowers  and  almost  a  forest  of  trees. 

Nothing  but  the  work  of  men  who  are  real 
wizards  could  have  brought  about  such  a  trans- 
formation. The  Exposition  commissioners  were 
most  fortunate  in  securing  just  such  men,  and 
wizards  they  have  proven  themselves  beyond  all 
question.  To  appreciate  this  tremendous  under- 
taking of  the  Exposition  something  of  this  should 
be  known.  The  chiefs  of  the  various  departments 
have  furnished  such  excellent  team  work  that  the 

n 


THE  DREAM  CITY 

mind  can  scarcely  conceive  anything  more  to  add 
to  the  accompHshed  plan. 

Many  excellencies  will  of  themselves  be  forced 
upon  the  sight  of  the  millions  who  visit  the  Expo- 
sition, but  again  many  fine  accomplishments  will  be 
taken  as  a  matter  of  fact  and  overlooked.  Who 
would  believe  that  43,000  eucalyptus  trees  had  been 
grown  for  the  occasion  ?  Yet  it  is  true.  Two  years 
ago  they  were  plants  six  inches  high.  They  were 
placed  in  hot  beds  and  transplanted  every  six  weeks, 
forced  in  this  way  as  long  as  was  best,  the  growth 
was  then  permitted  to  make  slower  advance,  but 
today  they  are  from  twenty  to  fifty  feet  in  height. 
Five  thousand,  five  hundred  acacia  trees  have  been 
raised,  too,  and  500  Monterey  cypress  trees 
transplanted  with  only  a  loss  of  25.  These 
are  only  a  few  of  the  wonders  which  the  Chief  of 
the  Landscape  Gardening,  John  McLaren,  has  ac- 
complished. In  the  south  gardens  125,000  plants 
are  used  at  each  planting — and  200,000  will  be  used 
when  changes  are  made  in  connection  with  the 
other  courts.  Surrounding  the  lagoon  and  the  Fine 
Arts  Palace  are  10,000  periwinkles,  5,000 
California  violets,  and  5,000  Spanish  iris,  to  say 
nothing  of  hundreds  of  yellow  and  white  callas  and 
sweet-scented    shrubs    and    daffodils.      No    visitor 

12 


ITS  ART,  STORY  AND  SYMBOLISM 

walking  about  could  dream  that  hundreds  of  tons 
of  earth  and  fertilizer  had  been  placed  so  recently 
upon  salt  sand  beds,  when  looking-  upon  these  glor- 
ious things  in  their  beauty  as  given  to  the  world  by 
McLaren.  No  one  can  realize  the  part  the  splendid 
banking  in  pyramid  form  of  the  trees  and  shrubbery 
plays  in  the  added  charm  given  the  great  unbroken 
walls  of  the  palaces  without  thought — but  all  this 
was  in  the  plan — no  accident  brought  it  about. 

The  things  true  of  McLaren  are  true  of  all  the 
other  Chiefs  of  Departments.  Over  and  over  one 
is  called  upon  to  marvel  at  the  beauty,  splendor  and 
perfection  of  the  great  scheme  as  carried  out  by 
these  gifted  men. 

The  architectural  plan  is  perhaps  the  simplest 
ever  adopted  by  a  body  of  men  intending  to  erect 
an  imposing  group  of  buildings.  The  simplicity 
could  have  been  a  real  danger  yet  it  has  been  made 
a  chief  charm,  and  the  outside  of  the  great  buildings 
is  scarcely  a  hint  of  the  delights  displayed  in  the 
courts  in  the  way  of  fantasy  and  finish.  The  whole 
might  be  a  jewel  casket  whose  exquisite  beauty  was 
only  divulged  when  looking  into  it.  The  painters 
and  the  sculptors  have  lent  themselves  so  entirely 
to  the  great  builders  that  they  enter  into  the  thing 
as  a  whole,  yet  each  in  his  individuality  and  talent 

13 


THE  DREAM  CITY 

is  a  giant  and  stands  out  a  great  joy  to  study  when 
taken  alone.  Always  it  comes  back  to  us — the 
perfection  of  the  ensemble — the  harmony,  the 
sense  of  oiie-ness  is  the  tremendous  impression. 
Jules  Guerin,  his  four  chosen  colors  for  buildings, 
and  decorators.  The  architects  and  sculptors  work 
likewise  in  unison  with  one  material ;  all  this  has 
made  possible  the  most  harmonious  series  of  build- 
ings the  world  has  ever  seen. 

The  building  material  is  a  composition  made  in 
imitation  of  travertine,  a  soft,  porous  marble  fa- 
vored greatly  in  Italy,  figuring  largely  in  the  build- 
ing of  the  Coliseum  and  Roman  Forum.  The  ma- 
terial is  rough  surfaced,  with  a  persistent  fault 
recurring  regularly  all  through  the  stone — the 
technical  name  for  this  blemish  is  lamination — the 
surface  of  the  stone  being  made  rough  in  this  way 
is  exceedingly  soft  and  beautiful  in  large  vv^all 
spaces.  It  takes  a  fine  smooth  surface  when  dressed 
and  lends  itself  well  to  any  form  of  decoration.  It 
is  tinted  in  the  making  so  when  the  walls  stand 
finished  they  are  a  soft,  neutral  ivory  tint.  It  is 
probably  the  first  time  all  the  decorations  for  so 
large  a  number  of  buildings  made  of  the  same  ma- 
terial  has  ever  been   seen.      It  is  one  more   great 

•14 


ITS  ART,  STORY  AND  SYMBOLISM 

thing — the  conception  that  they  should  be  kindred 
in  every  way — and  has  proved  to  be  in  superb  taste. 

Then  the  great  color  Chief,  the  man  who  has 
painted  in  France,  Italy,  Egypt  and  the  Holy  Land ; 
the  man  who  knows  color  combinations  until  it  is 
a  dream  sweetened  by  warmth  and  sunlight;  he 
comes  with  his  green,  orange,  blue  and  Pompeian 
red  and  their  immediate  variations  and  it  wovdd 
seem  that  the  last  note  had  been  struck.  It  sounds 
almost  garish.  Yet,  did  any  one  ever  behold  a 
more  entrancing  thing  than  the  sight  of  these  colors 
as  they  have  been  applied  to  the  Exposition  build- 
ings? Jules  Guerin  has  kept  in  harmony  everything 
in  the  way  of  color.  People  cannot  appreciate  to 
what  extent  this  color  scheme  occupied  him.  The 
lawns,  the  grouped  trees,  the  colors  of  the  flowers^ 
the  shale  on  the  paths,  the  color  of  the  uniforms 
worn  by  the  guards  all  received  consideration, 
while  three  hundred  different  colored  fabrics  in 
linen,  brocades  and  velvets  have  been  provided  for 
the  choice  of  the  exhibitors.  He  worked  for  days 
dyeing  every  rag  he  could  get  his  hands  on  until  he 
was  able  to  secure  the  Exposition  colors — soft  and 
beautiful — for  streamers,  pennants  and  flags.  Turn 
where  you  will,  there  is  no  violence.  His  colored 
cornices,  half-domes  and  domes  blend  into  the  blue 

15 


THE  DREAM  CITY 

of  the  sky  until  it  would  seem  they  were  a  bit  of  it 
detached. 

Perhaps  there  never  was  a  place  where  it  be- 
hooved the  visitor  to  lift  his  eyes  as  often.  Mc- 
Laren charms  and  fascinates  with  his  lawns,  flowers 
and  trees,  and  the  reflected  glories  in  the  fountain 
basins,  pools  and  lagoons  tend  to  keep  our  glance 
downward,  but  to  lift  the  eyes  is  to  be  inspired. 
The  brilliant  blue  sky  of  California  is  fairly  peopled 
by  winged  victories,  statues  to  Rain,  Sunshine, 
Flora  and  Ceres.  It  is  one  of  the  most  entrancing 
phases  of  beauty — this  beauty  of  the  sky  over  at 
the  Exposition.  And  whether  it  be  blue  or  gray 
always  those  magnificent  forms  stand  out  in 
splendid,  bold  and  glad  relief  and  we  bless  the  in- 
spiration that  placed  them  there  for  us  to  look 
up  to. 

There  is  another  chapter  to  the  wonders  how- 
ever. Description  fails  when  one  would  tell  of  the 
work  of  W.  D'Arcy  Ryan.  He  has  made  night 
much  more  wonderful  than  day  and  seemingly  has 
been  able  to  put  before  us  the  material  in  visible 
form  from  which  all  color  dreams  are  created. 


16 


ITS  ART,  STORY  AND  SYMBOLISM 


Illumination. 

Mr.  Ryan  is  probably  the  last  man  on  earth  who 
would  wish  to  take  honor  when  it  was  not  his  due ; 
since  there  is  an  enormous  amount  coming  to  him 
he  has  an  abundance  to  share  with  Mr.  Gossling, 
the  designer,  Mr.  Dickerson,  the  engineer,  and  Mr. 
Bailey,  chief  of  the  department  of  mechanics. 
Mr.  Ryan  was  sent  to  the  Exposition  people  by 
the  General  Electric  Company  and  his  services 
therefore  have  been  in  the  nature  of  a  gift  to  the 
P.  P.  I.  E. 

The  sight  of  the  illuminations  is  one  of  the  most 
unique  and  astounding  features  the  visitor  is  called 
upon  to  enjoy.  To  receive  each  thrill  in  order  and 
to  thoroughly  appreciate  the  magnitude  of  the  plan 
of  lighting  one  should  await  the  whole  procedure 
from  the  Court  of  the  Universe.  The  lights  come 
on  by  the  pressing  of  the  button,  and  it  is  easy  to 
miss  some  of  the  first  finest  glimpses.  The  red 
light  which  embraces  the  Tower  of  Jewels,  to  begin 
with,  is  as  Ryan  conceived  it,  something  brought 
back  from  the  setting  sun.  It  gives  warmth  and  a 
fine  red  glow  to  the  surroundings  for  a  short  time, 

17 


THE  DREAM  CITY 

then  the  pressing  of  another  button  changes  the 
whole  sight  into  a  glory  of  white  brilliancy.  The 
corridors  of  the  colonnade,  the  eastern  and  western 
arches,  the  Tower  of  Jewels,  the  fountains  of  the 
Rising  and  Setting  Sun  all  come  in  turn  into  the 
charm  of  this  wonderful  plan.  Mere  words  cannot 
in  any  way  prepare  one  for  the  superb  effect  of  the 
indirect  or  "flood  lighting,"  as  Ryan  calls  it. 

Many  secrets  lie  beyond  the  ken  of  the  public. 
Many  experiments  and  achievements  constitute 
the  marvelous  success  this  scheme  of  Mr.  Ryan's 
has  become ;  for  instance,  the  lighting  of  the  cof- 
fered domes  and  ceilings  is  accomplished  by  red 
lights  upon  one  side  and  white  lights  on  the  other, 
the  combined  colors  keeping  the  depth  and  the 
curve  of  the  domes.  Too  much  cannot  be  said  for 
the  beauty  of  this  phase  of  the  Exposition's  de- 
partures, and  it  must  be  seen  to  be  appreciated ;  but 
the  public  admit  that  the  color  of  Jules  Guerin  and 
the  lighting  by  Ryan  constitute  the  greatest  inno- 
vations of  the  Panama-Pacific. 

The  forty-eight  scintillators  make  another  chap- 
ter in  the  fairyland  of  night,  and  again  it  is  im- 
possible to  convey  an  adequate  idea  of  the  fabulous 
play  of  color  as  it  is  controlled  by  forty-eight  men, 
each   stationed   beside  a   great  lens   three   feet   in 

18 


ITS  ART,  STORY  AND  SYMBOLISM 

diameter  with  various  colored  screens  ready  for 
use  when  the  order  comes.  Few  can  appreciate 
the  tremendous  power  of  the  Hght  under  control 
here,  five  and  one-half  billions  candle  power  is  the 
great  scintillator's  strength  when  it  is  working. 
These  scintillators  throw  numerous  colors  upon  the 
smoke  from  exploding  bombs,  and  steam,  escaping 
from  steam  jets  into  designs  resembling  plumes 
pin-wheels,  waterfalls,  and  pine  trees.  Until  these 
have  been  seen  no  one  has  the  faintest  conception 
of  a  symphony  of  color,  and  for  these  color-mad 
people  in  the  art  world  it  would  seem  that  these 
visions  of  Ryan's  might  allay  the  malady. 

The  Horticultural  Dome  has  received  no  small 
amount  of  attention.  Over  a  year  before  the  Fair 
opened,  minute  details,  including  blue  prints  of  each 
spot  of  color,  giving  color  and  shape  and  the  move- 
ment according  to  the  design  were  in  the  hands  of 
these  light  wizards.  There  is  a  scheme  back  of  the 
mysterious  performances  in  the  great  glass  world, 
the  whole  dome  being  used  to  portray  the  creation 
of  the  universe.  Rings — concentric  rings — start- 
ing small  and  increasing  in  size  like  the  waves 
on  a  pool  separate  into  smaller  rings  which  again 
travel  and  merge.  There  are  comets,  slow  and 
rapid    in   their   movements,   and   the   misty   milky- 

19 


THE  DREAM  CITY 

way  is  another  of  the  heavenly  representations 
which  pass  slowly  before  the  eye  of  the  beholder. 
The  whole  possesses  a  weird  dignity  which  is  creepy 
and  awe-inspiring,  and  certainly  proves  another 
individual  achievement  accomplished  by  Ryan. 

The  matter  of  reflections  has  held  the  earnest 
attention  of  Mr.  Ryan  and  Mr.  Dickerson,  rumor 
says,  and  half  the  beauty  of  the  night  is  in  the 
pictures  mirrored  in  the  fountain  basins,  pools  and 
lagoons.  It  is  wise  to  be  in  a  credulous  state  when 
relations  of  these  wonders  are  being  rehearsed,  be- 
cause experience  proves  that  the  sights  are  beyond 
the  imagination  in  many   instances. 

It  is  impossible  to  enter  into  the  work  of  these 
electricians  without  technical  knowledge,  but  all 
may  stand  and  appreciate  to  the  utmost  the  colorful 
visions  which  they  hurl  into  the  air,  and  all  must 
acknowledge  that  Ryan  has  held  within  his  grasp 
not  only  superb  visions  but  power  to  visualize  these 
sights  into  fantasies  phenomenal  and  glorious  be- 
yond words. 


20 


ITS  ART,  STORY  AND  SYMBOLISM 


SYMBOLISM. 

On  every  hand  the  visitor  turns  to  find  himself 
confronting-  statues  and  paintings  laden  with  mean- 
ing. Symbolism  is  rife,  it  is  always  present  and 
there  is  one  constant  utterance — what  does  it  all 
mean?  The  keynote  to  the  situation  is  one  thing: 
The  tremendous  achievement  of  the  present — this 
Panama  Canal ;  this  bringing  together  the  Atlantic 
and  Pacific.  The  eradication  of  the  vast  distance 
between  the  East  and  the  West,  Progress,  Achieve- 
ment, the  western  advance  of  the  people,  the  pio- 
neer of  the  south  and  the  west,  the  pursuit  of  visions 
and  dreams,  listening  to  those  who  have  stories  of 
abundance  to  tell,  the  lure  of  adventure  and  pros- 
perity, and  at  last  the  success  of  it  all.  The  things 
accomplished,  the  desert,  mountains  and  extensive 
lands  of  the  west  explored — brought  into  the  ser- 
vice of  insistent  settlers  and  ending  in  this  last  great 
undertaking  of  the  American  people,  the  most  tre- 
mendous ever  accomplished  in  so  short  a  time,  the 
completion  of  the  great  canal.  If  these  things  are 
kept  in  mind  together  with  the  blessings  of  Nature, 
and  the  charm  of  California  with  its  various  beau- 
ties and  gifts  in  fruits,  flowers,  grain  and  gold — - 

21 


THE  DREAM  CITY 

almost  the  whole  of  the  symbolism  may  be  read  as 
one  passes  before  it. 

Passing  through  the  main  entrance  at  Scott 
Street  the  visitor  stands  in  the  center  of  the  Expo- 
sition grounds,  where  the  glory  of  the  vision  be- 
fore the  eye  sets  the  heart  bounding  with  sur- 
prised delight.  Gardens  glowing  with  hundreds  of 
thousand  of  daffodils,  pansies  and  yellow  tulips 
that  have  already  blossomed  and  will  be  changed 
from  time  to  time  and  always  give  silent  voice,  but 
volumes  of  praise  nevertheless  to  McLaren.  This 
garden  enclosed  between  the  great  Festival  Hall 
on  the  east,  Horticultural  Hall  on  the  west  and  the 
whole  group  of  exhibition  palaces  on  the  north  has 
one  feature  never  seen  before,  a  great,  green  wall 
made  of  a  tiny  vine — mesembryanthemum  spectab- 
ilus — planted  in  boxes  six  feet  long  by  two  feet 
wide,  these  boxes  set  on  edge  one  upon  another, 
and  have  been  formed  into  a  hedge  which  in  turn 
has  been  shaped  and  molded  into  arches  suggesting 
some  architectural  material  instead  of  a  planted, 
growing  vine  in  its  natural  element — the  earth. 

A.  Stirling  Calder's  Fountain  of  Energy  is  the 
great  ornamental  center  of  this  garden  and  the  fine 
figure  of  the  victorious  youth  riding  through  the 
turbulent    waters    faces    the    south — his    arms    out- 

22 


ITS  ART,  STORY  AND  SYMROLISM 

stretched,  his  hands  thrown  back  to  restrain  any 
resisting  force  which  might  by  chance  impede  his 
way.  With  Fame  and  Valor  crowning  him  he  is 
easily  recognized  as  the  symbol  of  the  energy  called 
forth  by  this  great  work  and  one  looks  up  to  him 
with  appreciation  and  never  a  doubt  but  that  his 
strength  and  hope  would  have  endured  and  over- 
come all  that  has  been  mastered  by  the  indomita- 
ble will  of  these  men  who  have  been  for  years 
putting  forth  Herculean  efforts  upon  the  canal. 
Energy  is  mounted  upon  a  horse  which  fine 
and  powerful  stands "  upon  a  great  globe  repre- 
senting the  earth.  A  great  ornamental  band 
around  the  earth  gives  evidence  of  the  blessings 
bestowed  by  the  light  and  warmth  of  the  sun. 
While  at  the  feet  of  the  horse  the  Western  Hemis- 
phere is  present  as  a  bull  and  the  Eastern  Hemis- 
phere as  a  lioness.  In  the  basin  of  the  fountain 
various  ornamental  motives  have  been  used.  The 
four  large  ones  in  the  center  nearest  the  fountain 
represent  the  four  great  oceans.  These  are 
unique  and  unusual,  each  with  its  truth  to  tell 
when  their  properties  are  studied.  The  Atlantic 
Ocean  is  a  beautiful-faced  woman  with  coral  locks 
and  sea  horses  in  her  hand.  She  rides  in  wild 
abandon    a   helmeted   fish.      The    Northern   Ocean 

23 


THE  DREAM  CITY 

is  represented  by  an  Esquimaux  riding  the  walrus, 
the  Southern  Ocean  by  a  negro  on  the  back  of  a 
sea-elephant  and  the  Pacific  Ocean  a  woman  rides 
the  back  of  a  sea  monster.  On  the  outer  circle  of  the 
basin  in  groups  of  three,  charming  little  figures 
ride  dolphins  in  great  glee.  To  the  east  and 
west  in  extensive  pools  which  reflect  many  beauties 
all  their  own,  play  the  Mermaid  Fountains  of 
Arthur  Putnam. 

Continuing  into  the  garden  we  approach  the 
Tower  of  Jewels  with  an  eqviestrian  statue  on  either 
side  of  it.  The  statue  of  Cortez,  the  conquerer  of 
Mexico,  by  Niehaus,  is  on  the  right.  Pizaro,  con- 
queror of  Peru,  is  by  Chas.  Rumsey,  on  the  left. 

"The  Tower  of  Jewels" — the  huge,  imposing  en- 
trance into  the  Court  of  the  Universe — is  by 
Thomas  Hastings,  a  New  York  architect.  It  stands 
about  435  feet  high  and  has  seven  terraces  or  hori- 
zontal divisions.  It  is  crowned  by  a  great  ball  rep- 
resenting the  earth  which  is  surrounded  by  a  band 
tracing  the  course  of  the  sun's  journey  around 
the  earth,  the  band  beautifully  hung  with  jewels, 
the  greatest  innovation  of  the  tower.  The  tower 
is  decorated  with  jewels  cut  with  facets  like  a 
diamond — 106,000  of  these  hanging  upon  swivels 
so  that  the  least  breeze  moves  them.  The  jewels  lend 

24 


ITS  ART,  STORY  AND  SYMBOLISM 

their  colors — green,  red,  white,  blue  and  yellow — 
to  the  glory  of  the  tower.  The  tower  is  beautiful 
by  day,  but  at  night  when  Ryan's  lighted  effects 
hold  it  in  their  embrace  it  is  almost  astounding. 

Grouped  so  that  you  can  see  four  figures 
from  each  side,  one  sees  the  fine  statues  by  John 
Flannigan  of  New  York.  These  figures  are  the 
Adventurer,  the  Priest,  the  Philosopher  and  the 
Soldier — attribu-tes  of  the  mind  of  every  great  pio- 
neer since  the  history  of  the  world  began.  The 
Philosopher's  being  the  mind  which  thought  out 
the  plan,  all  its  whys  and  wherefores.  The  Adven- 
turer's the  mind  which  fearlessly  started  out  to 
adopt  the  plan ;  the  Soldier's  mind  gives  the  attri- 
bute of  might  and  power,  and  the  Priest's  the  nec- 
essary hope  and  faith.  It  is  a  splendid  story  John 
Flannigan  has  told  us  by  the  silent  presence  of 
these  stone  men. 

On  the  first  great  tier  of  the  tower  you  see  a 
decorative  series  of  equestrian  statues  by  Tonetti, 
the  type  of  Spanish  explorer  who  came  into  the 
great  southwest.  One  of  the  most  impressive  bits  of 
decoration  is  the  boat  at  each  corner  of  the  third 
terrace.  It  is  Egyptian^Sphinx-like — but  a 
woman,  with  her  head  held  high  makes  the  prow 
of  the  boat.     She  is  the  spirit  of  adventure  itself; 

25 


THE  DREAM  CITY 

hopeful  and  courageous  she  puts  out  to  sea,  know- 
ing nothing,  but  hoping  all  things. 

The  American  eagle  is  in  evidence  as  it  should 
be  and  after  that  the  decoration  is  architectural — 
with  medallions,  balustrades  and  columns. 

Passing  through  the  tower  study  the  splendid 
effect  of  the  coffered  ceiling  and  appreciate  the  full 
beauty  of  Guerin's  colors  as  applied,  to  this  decora- 
tion. 

On  either  wall  you  have  the  fine  mural  paintings 
of  Frank  De  Leftwich  Dodge.  These  are  in  panels 
sixteen  feet  high  and  ninety-two  feet  long.  They 
are  divided  into  three  divisions  making  each  a 
triptych.  The  part  of  a  mural  decoration  is  to  dec- 
orate a  wall.  It  should  have  no  distance ;  it  must 
be  flat  so  that  the  wall  and  the  quality  of  the  wall 
is  constantly  in  mind.  Dodge  has  carried  out  his 
wall  effect  by  a  bit  of  clever  work;  he  has  placed 
a  conventional  design  back  of  the  painting  so  that 
the  wall  is  everywhere  evident.  Notice  how  deep 
and  rich  he  has  made  his  colors — remember  these 
mural  painters  were  all  held  to  the  four-color 
scheme  of  Guerin  too,  and  it  is  intensely  interest- 
ing to  see  how  variously  they  have  been  handled. 

Dodge's  are  strong  and  powerful  without  be- 
ing  brilliant   or   riotous.      On   one   side   you    have 

26 


ITS  ART,  STORY  AND  SYMBOLISM 

the  Panama  district  discovered,  the  Purchase  and 
the  larger  central  group,  where  over  the  heads  of 
the  great  Herculean  figure  representing  the  canal 
you  have  the  hands  of  the  Atlantic  and  Pacific 
Oceans  all  but  clasped.  Always,  everywhere,  this 
bringing  together  of  the  East  and  the  West.  On 
the  opposite  side  you  have  Labor  crowned,  the 
achievement  and  the  completed  canal  called  the 
Gateway  of  Nations.  Sailing  through  are  different 
kinds  of  boats  coming  after  the  work  of  the  ma- 
chinery (which  is  shown)  has  been  completed.  Not 
to  have  noticed  the  frame  of  Dodge's  work  will 
have  been  a  loss — it  is  of  unusual  merit. 

Flanking  the  Tower  east  and  west  are  the  two 
arcades.  These  contain  the  mural  fountains  of  Mrs. 
Burroughs  and  Mrs.  Harry  Payne  Whitney. 

The  Fountain  of  the  El  Dorado  on  the  left  is  an 
unusual  subject  handled  with  great  skill  by  Mrs. 
Whitney.  The  two  paneled  frieze  is  done  in  the 
high  relief  of  the  Renaissance  sculpture.  Each 
figure  and  face  is  well  worth  study.  The  whole 
story  is  told  plainly.  Mrs.  Whitney's  fountain  is  a 
drama  acted  out  before  the  visitor.  Those  who 
make  up  the  frieze  are  the  people  entering  into  this 
long  race  for  the  El  Dorado — gold,  dreams  realized, 
fame,  glory,  all  things  mortals  long  for.     At  the 

27 


THE  DREAM  CITY 

beginning  of  each  frieze  see  how  some  fail  to  grasp 
the  vision,  lack  desire,  see  the  woman  (on  the 
right)  who  having  prevailed  in  vain  is  kissing  her 
loved  one  good-bye.  On  the  other  frieze  it  is  a 
woman  who  fails  to  catch  the  enticing  dream.  The 
story  as  told  by  the  frieze  is  true  in  every  way  to 
life — the  attempt  to  achieve  is  more  than  a  pleasure- 
able  effort — it  is  fraught  with  sadness,  failure,  diffi- 
culties and  hard  labor  for  all  who  would  succeed. 
But  they  do  persevere,  and  at  the  end  hope  thrills 
them  and  they  are  more  impetuous  than  ever  and 
with  out-stretched  eager  hands  they  arrive — to  find 
a  priestess  and  priest  guarding  the  temple  doors — 
which  are  ajar,  leaving  hope  to  live,  since  they  are 
not  closed.  Interest  has  been  aroused  and  left 
tense  by  the  artist.  The  questions,  do  they  suc- 
ceed? Are  they  admitted?  Is  it  well  with  the  sup- 
plicant ?  are  on  the  mind  of  the  beholder.  The  Pan- 
ama-Pacific International  Exposition  is  celebrating 
a  great  achievement,  not  a  failure.  Of  course  it  is 
well  with  them,  a  race  well  run,  a  battle  well  fought, 
a  struggle  brought  to  the  end  is  a  development  in 
itself  and  means  everything  to  the  contestant. 

Mrs.  Burrough's  Fountain  of  Youth  is  poetical 
and  beautiful.  The  figure  of  the  little  girl  is  fas- 
cinating in  its  simple,  childish  beauty.     She  stands 

28 


Fonntatns  of  Yoath  and   Ceres 

29 


THE  DREAM  CITY 

in  the  primrose  path  of  youth.  The  father's  and 
mother's  heads  in  reHef  upon  the  pedestal  look 
up  in  loving  tenderness  to  their  little  one.  They 
supply  primroses  and  evidently  would  fain 
keep  her  treading  this  innocent  and  happy  path. 
But  these  figures  in  the  frieze  tell  the  story  too 
truly — whether  we  will  or  not  youth  slips  away 
from  us  with  loving  remembrance,  reconciliation, 
sorrow  and  regret  it  escapes,  and  always  we  turn 
to  it  with  tenderness,  while  age  carries  Ui  irre- 
sistibly beyond.  Experience  and  need  turn  us 
about  and  life  is  a  constant  demonstration  that  both 
phases — youth  and  age — must  be  ever  present. 

Now  into  the  Court  of  the  Universe.  As 
the  visitor  passes  beyond  the  "Tower  of  Jewels" 
he  steps  into  the  great  court  of  the  Exposition — 
the  center  of  the  main  group  of  buildings.  Breadth 
and  dignity  are  here.  The  stately  colonnade 
sweeps  its  curves  around  the  sunken  garden  and 
makes  a  fine  reach  out  to  the  sea  itself.  Every- 
thing here  is  uplifting  and  one's  pulse  stirs  livelier 
as  one  stands  contemplating  the  architectural 
achievement  of  McKim,  Meade  &  White  of  New 
York.  The  knowledge,  skill  and  talent  of  the  archi- 
tects, sculptors  and  mural  painters  are  in  evidence 
everywhere.     In  all  that  they  have  given  us  we  see 

30 


ITS  ART,  STORY  AND  SYMBOLISM 

the  fine  fundamental  excellencies  of  their  art. 
The  architects  know  well  the  splendid  things  of 
Europe  and  in  much  that  is  used  we  catch  faint 
glimpses  of  great  things  done  in  the  old  world 
hundreds  of  years  ago.  If  our  builders  had  known 
less  of  these  good  things  the  beauty  of  the 
Exposition  would  have  been  the  sufferer.  As  it  is, 
in  many  instances  one  can  almost  name  the  great 
artistic  or  architectural  treasure  which  has  served 
as   an   inspiration. 

This  Court  of  the  Universe  is  filled  with  fine 
things  and  gives  one  much  to  think  of  in  the  superb 
way  the  great  thought  of  the  universe  has  been 
carried  out.  Very  little  of  earth  is  here;  it  has 
mostly  to  do  with  the  tremendous  things  known  to 
the  earth — but  not  altogether  of  it. 

Looking  up,  there  are  six  great  domes  painted 
in  orange,  giving  individuality  to  the  domes  of  the 
Court — all  the  others  being  green.  Taking  these 
as  worlds  we  see  beneath  them  a  frieze  done  in 
fine  Greek  fashion.  This  is  Hermon  MacNeil's 
frieze  of  Atlas.  It  is  fitting  that  Atlas  should 
be  called  into  service  here.  His  duty  from  time 
immemorial  has  been  to  hold  up  the  earth.  Here 
we  find  the  old  god  astronomer  in  the  same  occu- 
pation— accompanied    by    his    fourteen    daughters. 

31 


THE  DREAM  CITY 

Atlas  Stands  in  the  center,  his  great  wings,  flowing 
beard,  and  drapery  close  and  straight  to  his  body, 
giving  him  a  post-like  appearance.  On  either  side 
in  beautiful,  rhythmical  groups  of  two  and  three, 
dance  his  daughters  for  whom  fourteen  great  con- 
stellations are  named. 

Closely  associated  with  Atlas  and  his  daughters 
is  another  beautiful  decorative  female  figure — The 
Star — by  A.  Stirling  Calder.  She  graces  the  whole 
upper  balustrade  of  the  Court  of  the  Universe.  To 
look  at  her  is  to  love  her.  Singly  she  is  a  post,  col- 
lectively she  makes  a  fence — artistically  she  is  a 
wonderful  bit  of  sculpture  with  all  the  excellence  of 
the  Greek  shaped  figures  and  the  beauty  of  a  mod- 
ern head.  The  ideal  in  the  Greek  art  forms  so 
large  a  feature  in  the  work  of  our  sculptors  that 
it  should  be  better  understood,  and  a  paragraph 
here  upon  Greek  art  cannot  be  amiss. 

The  Greek  sculptors  carried  their  art  to  such 
heights  that  in  matters  of  physical  beauty  and  per- 
fection they  have  never  been  excelled.  The  best 
our  modern  men  can  do  is,  perhaps,  to  equal  the 
Greek  in  his  triumph.  But  it  was  only  in  the 
form  of  the  body  they  had  this  to  the  greatest  ex- 
tent. The  Greek  faces  were  after  the  type  of  the 
Greek  ideal  which  in  many  instances  made  them 

32 


ITS  ART,  STORY  AND  SYMBOLISM 

monotonous.  No  pain,  sorrow,  suffering,  no  mark 
of  age  or  any  deformity  was  ever  put  into  marble 
by  a  Greek  sculptor.  As  a  result  no  portrait  statue 
exists — if  they  named  a  statue  for  Pericles  it  was 
after  he  had  been  idealized  past  recognition  and 
after  his  elongated  head  had  been  concealed  by  the 
raised  helmet.  This  making  heads  and  faces  by 
rule  and  precept  makes  it  possible  for  us  today  to 
love  a  Greek  statue  with  its  face  battered  and 
broken  or  even  with  its  head  altogether  missing. 
This  is  not  true  of  the  figure,  however, 
whether  draped  fully,  or  with  the  drapery  drawn 
back  so  that  the  body  is  almost  entirely  exposed,  or 
whether  altogether  nude,  the  Greek  marble  is  en- 
trancing and  it  is  this  beauty  which  exists  in  The 
Star  of  A.  Stirling  Calder.  Compared  with  some 
of  the  finest  female  figures  in  Greek  art  The  Star 
is  of  them,  but  more  charming  because  of  her  mod- 
ern face. 

The  important  thing  to  know  about  the  Greek 
frieze  is  that  the  figures  are  always  well  distanced — 
no  crowding,  no  over-filled  background,  always  an 
opportunity  to  see  the  good  qualities  about  the 
figures  in  relief.  This  factor  is  one  of  their  pos- 
sessions largely  because  the  Greek  sculptor  never 
saw  anything  in  any  other  way  on  account  of  the 

33 


THE  DREAM  CITY 

rarefied  atmosphere  of  his  land.  All  objects  stand 
out  clear  and  distinct  against  the  brilliant  sun  and 
sky  of  Greece.  So,  in  all  typical  Greek  relief  you 
have  the  figures  placed  in  spaces  so  free  that  they 
are  able  to  show  at  their  best  the  grace  and  beauty 
bestowed  .upon  them  by  their  artist  makers,  and  this 
is  the  excellence  possessed  by  the  Atlas  frieze  of 
MacNeil,  and  it  will  be  referred  to  again  and  again 
as  we  study  the  work  of  the'  Panama-Pacific  Inter- 
national Exposition  sculptors.  These  two  instances 
are  the  only  ones  of  Greek  influence  in  this  great 
court,  everything  else  is  of  Roman  and  Renaissance 
richness  and  glory. 

The  sunken  garden  in  this  court  is  surrounded 
by  a  terraced  lawn  and  balustrade  upon  v/hich 
sculptured  and  architectural  men  and  women  lend 
themselves  as  adjuncts  to  the  lighting  scheme. 

Immediately  before  the  visitor,  approaching  from 
the  Tower,  the  fine  statues  of  Earth  and  Air,  by 
Robert  Aitken,  are  seen.  Earth  (upon  the  right) 
is  sleeping — a  fine  bit  of  poetical  feeling  to  have  had 
this  atom  of  the  universe  unconscious  while  all  the 
rest  of  the  elements  are  quick  and  alive  to  every- 
thing about  them.  Earth  sleeps  amid  things  all  her 
own  while  man  wrests  her  gifts  from  her,  but  she 
is  watched  and  guarded  by  the  keenly  alert  Air 

34 


Altkln'tt— Air  and  Earth 

35 


THE  DREAM  CITY 

opposite  (on  the  left).  Air  is  in  a  listening  atti- 
tude— in  one  hand  she  holds  a  star  to  her  ear  telling 
plainly  she  listens  with  joy  to  the  music  of  the 
spheres — the  boundless  distance  beyond.  Near 
her  other  hand  and  resting  upon  her  shoulder 
are  two  strong  pinioned,  high-flying  birds — symbols 
of  air.  While  strapped  to  her  powerful  wings,  a 
part  of  her,  is  perhaps  a  storm  fiend — an  attribute 
of  air  not  to  be  considered  too  lightly.  Across  the 
sunken  gardens  just  opposite,  are  the  other  two 
horizontal  statues  by  Aitken — Fire  and  Water.  In 
all  of  these  things  one  is  reminded  of  Michael 
Angelo,  and  in  this  one  of  Water  more  than  the 
rest.  Water  is  more  traditionally  handled ;  he  sits 
upon  the  wave  with  the  trident  in  his  hand  and  the 
sporting  dolphin  his  companion.  Screaming  Fire 
is  across  from  Water,  and  they  make  a  fine  con- 
trasting pair  in  their  masculine  power  and  vigor, 
with  the  female  figures  Earth  and  Air.  Fire  has 
everything  to  brand  upon  him  his  identity — the 
lightning  in  his  arm,  his  hand  in  the  flame  and  the 
only  creeping  thing  which  can  live  in  fire — the 
salamander. 

The  other  ornamental  groups  about  the  balus- 
trade are  the  four  vertical  groups  by  Manship — 
Music  and  Love  of  Dancing. 

36 


ITS  ART,  STORY  AND  SYMBOLISM 

As  the  visitor  loiters  about,  something  of  the  size 
of  this  court  begins  to  impress  him.  It  covers 
nearly  five  acres,  between  seven  and  nine  thousand 
people  can  be  seated  here.  The  pageants  and  spec- 
tacular festivities  of  the  Panama-Pacific  Interna- 
tional Exposition  will  be  given  here  and  this  spirit 
pervades  the  court.  The  great  triumphal  arches 
and  circling  colonnades  seem  to  foretell  just  this 
feature  of  the  celebration.  While  there  is  much 
that  speaks  of  dignity  and  might  the  utterances  of 
grace  and  beauty  are  present  too.  The  frieze  is 
decorated  with  flowering  festoons  and  the  bull's 
head — an  ancient  symbol — but  to  us  always  saying 
"The  desert  shall  blossom  as  the  rose." 

Some  of  the  most  unexpected  bits  of  daintiness 
come  upon  the  sight  here.  The  great  columns,  if 
the  sun  is  shining  right,  give  reflected  shades  al- 
most indescribable.  The  pink  of  the  side  walls,  the 
green  from  the  doors,  and  the  blue  from  the  ceil- 
ings cast  upon  the  columns  the  tint  of  the  pearl, 
and  it  seems  almost  a  glimpse  of  something  not  of 
this  world.  This  is  only  eclipsed  by  something  bet- 
ter and  that  comes  when  the  visitor  charmed  by 
the  vista,  as  seen  through  these  great  corridors  of 
the  sea  chances  to  catch  a  white-winged  saiHng 
vessel  passing  by,  then  it  truly  seems  that  God  him- 


THE  DREAM  CITY 

self  is  operating  moving  pictures  upon  the  screen, 
and  there  is  nothing  more  to  be  desired. 

When  once  we  turn  our  eyes  seaward  there  is 
no  resisting  the  Column  of  Progress.  This  is  an- 
other fine  story  in  stone,  and  is  the  relation  by  sym- 
bols of  the  struggle  maintained  always  by  humanity 
for  these  great  things  which  must  be  mastered,  and 
made  subservient  before  we  may  really  progress. 
The  story  begins  on  the  north  side  of  the  base  (the 
side  next  the  sea).  The  central  motive  in  this 
panel  is  a"  huge  figure  in  the  act  of  loosing  a 
whole  sphere  or  universe  of  power  upon  humanity. 
Once  freed  from  his  controlling  grasp  the  effort  to 
control  it  again  must  come  from  all  succeeding 
generations.  The  action  begins  with  the  figures  on 
either  side  the  great  master  of  power  and  progress. 
The  old  man  on  the  right,  knowing  that  his  years 
are  numbered,  his  life  of  toil  almost  ended,  looks 
up  and  throws  up  his  hands  in  impotence.  He  can 
do  nothing.  To  him  it  is  an  overwhelming  im- 
possibility, and  he  passes  it  on  to  those  who  come 
after  him  and  those  generations  understanding,  bow 
the  head,  bend  the  back  and  undertake  the  struggle. 
On  the  other  side  of  the  central  figure  a  young 
woman  is  so  awed  with  apprehension  that  she  turns 
aside  utterly  unable  to  contemplate  in  its  magnitude 

38 


ITS  ART,  STORY  AND  SYMBOLISM 


39 


THE  DREAM  CITY 

this  tremendous  task  put  upon  mankind.  Though 
physically  gifted  she  is  not  of  the  mind  to  bring  to 
herself  the  necessary  courage  to  begin  the  effort 
and  she  passes  it  on  to  the  young  man  kneeling  near 
her,  who  with  the  hope  and  power  of  youth  assumes 
the  task. 

Continuing  around  the  base  we  see  how  the  pro- 
cession of  toilers  from  the  old  man  has  advanced. 
Coming  from  the  north  to  the  western  panel,  you 
have  a  group  of  three,  an  old  man,  with  high 
cheek  bones,  weary  and  hopeless  to  exhaustion ;  just 
before  him  another  discouraged  man,  but  both  be- 
ing led  and  persuaded  by  a  glorious  woman  who 
has  not  lost  will  to  do,  faith  or  courage.  She  leads 
them  on  to  the  goal  of  success,  but  her  efforts  are 
retarded  by  that  splendidly  self-satisfied,  dreaming 
boy  who  stands  there  unable  to  take  anything  in 
beyond  his  own  love  of  day  dreams  which  require 
inactivity  to  enjoy.  With  everything  in  his  power 
lying  unheeded  he  misses  his  calling,  fails  in  his  ser- 
vice to  humanity  and  all  those  following  pay  for  his 
indifference.  He  is  such  a  splendid  being  that  we 
cannot  chide,  we  scarcely  blame  him,  it  only  makes 
one  inordinately  sorry  that  with  such  fine  qualifica- 
tions one  should  have  failed  to  enter  the  race. 
Those  coming  after  pay  the  price.  They  bend  lower 

40 


ITS  ART,  STORY  AND  SYMBOLISM 


Panels — Column  of  Pro^resH 


41 


THE  DREAM  CITY 

under  their  toil,  and  the  heavy  burden  of  added 
severity  rests  upon  their  shoulders.  But  they  are 
permitted  to  carry  it  on  to  success,  and  they  bring 
it  within  hearing  distance  of  the  happy  buglers 
who  make  the  southern  panel.  Now  turn  to  the 
eastern  panel  and  see  how  the  generations  from  the 
woman  took  up  the  endeavor. 

The  first  figure  on  the  east  side  did  by  physical 
effort  all  he  could.  The  second  has  reached  out  and 
by  the  power  of  his  might  and  sword  he  has  striven 
to  master  the  task  in  another  way.  Then  comes 
one  whom  by  the  presence  of  the  eagle  we  know 
to  have  been  inspired  with  splendid  things  of  the 
spirit.  With  uplifted  hands  and  face  it  is  evident 
that  his  efforts  have  been  with  higher  ideals  and 
his  work  a  telling  one.  Then  come  those  who  in 
groups  succeed  and  they  hand  the  work  on  to  those 
who  see  the  plane  of  action  change  and  bugling 
their  victory  begin  to  ascend,  to  carry  the  struggle 
on  from  another  height  to  meet  the  victorious  ones 
from  the  other  side  and  they  all  begin  the  ascent. 
These  bugling  victors  in  the  last  panel,  with  ring- 
ing, clarion  notes  almost  audible  apparently  lead 
into  the  entrance  of  the  column,  and  certainly  by 
suggestion  induce  the  eye  to  begin  the  ascent  of  the 
spirally  decorated  shaft. 

42 


ITS  ART,  STORY  AND  SYMBOLISM 

Lifting  the  eyes  to  the  column  it  is  psychologi- 
cally impossible  to  drop  them  again.  The  decora- 
tion, always  ascending,  is  stiff,  and  conventional 
little  waves  carry  busy,  sailing  ships  up  and  up 
until  we  come  to  the  frieze  and  upper  group 
by  Hermon  A.  MacNeil.  In  the  frieze  the 
figures  are  left  crouching  as  if  they  were  just 
coming  from  the  difficult  confines  of  the  column's 
shaft.  Architecturally  'this  is  a  necessity.  If  they 
were  full  standing  figures  they  would  be  out  of  pro- 
portion, and  if  they  were  small  standing  figures 
they  would  detract  from  the  great  group  on  top. 
As  they  are  they  are  perfect  from  the  artistic  point 
of  view  and  they  carry  on  the  symbolical  story  of 
ceaseless  effort.  From  these  who  have  struggled 
to  this  height  three  are  permitted  to  come  out  upon 
the  top  to  view  the  things  from  this  vantage  point, 
two  successful  ones  in  reserve  should  the  "Adven- 
turous Bowman"  need  them.  MacNeil  has  not  left 
us  in  doubt  a  minute  as  to  the  result  of  the  flight 
of  that  arrow.  By  the  effort,  ceaseless  effort,  of 
each  striving  one  beneath  him,  and  by  the  law  of 
compensation  it  is  decreed  that  perseverance  shall 
prevail  and  these  three  from  their  heights  shall  wit- 
ness the  victory  of  the  speeding  arrow.  Three  of 
them — one  a  bowman  whose  fiery  zeal  and  spirit  is 

43 


Adventurous    Bowman^MacNeil 


ITS  ART,  STORY  AND  SYMBOLISM 

in  evidence  all  about  him,  his  face  strong  and  fine, 
his  mental  and  physical  being  visibly  filled  with  vic- 
torious meaning, — wait  and  watch.  Supporting 
him  is  a  fine  unselfish  man,  giving  unasked  of  his 
best,  and  a  woman  with  her  feminine  heart  filled 
with  love  and  appreciation  kneels  ready  to  crown 
the  great  Bowman,  with  her  palm  and  laurel  em- 
blems of  victory. 

There  are  two  other  inspiring  things  in 
this  great  court.  Down  in  the  sunken  gardens 
on  high  shafts  stand  the  two  fountains  of  A.  A. 
Weinman  of  New  York.  The  Rising  Sun  in  the 
east  is  the  very  soul  of  inspiration.  His  fine  youth- 
ful form  is  filled  to  the  utmost  with  this  great  thing 
he  is  to  do.  The  sculptor  has  taken  the  action  at  the 
psychological  point  to  the  fraction  of  an  instant  and 
the  whole  poise  is  that  of  every  muscle  hardened 
with  present  activity,  the  young  male  figure  stands 
on  his  toes,  his  body  rigidly  erect,  his  hands  out- 
stretched, and  giving  the  arms  increased  support 
and  power  are  two  strong  wings  spread  in  added 
might.  It  would  seem  that  Weinman  only  failed 
in  that  the  Rising  Sun  does  not  breathe,  for  every 
other  semblance  of  life  is  present.  One  can't  say 
too  much  of  the  excellence  of  this  work  and  this 
figure  will  live  long  in  the  memory  of  those  who 
will  learn  to  love  his  glorious,  vigorous  power. 

45 


THE  DREAM  CITY 

THE  RISING  SUN. 
The  darkness  of  Dawn.    A  silence  deep. 
All  earth  held  fast  in  the  arms  of  sleep. 
Watched  by  the  stars  God  placed  in  his  skies 
In  dreamless  rest  humanity  lies — 
While  low  in  the  East  the  first  pink  flush 
Gives  tint  and  shade  to  the  Dawn's  great  hush. 
Breathless  the  flowers'  flagrance  distilled 
Springs  like  worshiping  incense  thrilled 
When  the  stillness  vast  is  sweetly  stirred 
By  the  whistling  note  of  one,  wee  bird. 
Then  with  the  rush  and  might  of  his  power 
The  sun  god  heralds  his  coming  hour. 
And  when  his  whole  being  with  strength  is  taut, 
A  miracle  by  great  force  is  wrought. 
And  forth  from  the  sky  this  gift  is  hurled — 
The  Sun-god's  gift  of  day — to  the  world. 
The  Rising  Sun  as  interpreted  by  Weinman : 
The   Rising    Sun. — Firm    of    muscle,    wide    of 
chest  and  powerful  of  arm,  the  sun  god  in  the  glory 
of  his  youth  is  shown  as  though   rising  over  the 
horizon  on  his  flight  through  infinite  space,  his  face 
turned    upward,    eye    fixed    onward,    the    youthful 
wings  fresh  grown  and  eager  for  the  mighty  flight. 
The  Fountain  of  the  Rising  Sun. — The  sculp- 
tured band  woven   around  the  base  of  the   shaft 
above  secondary  basin   represents   "Day  Triumph- 

46 


Weinman's   Rising   Sun 

47 


Settings   Sun^Welnmaii 

48 


ITS  ART,  STORY  AND  SYMBOLISM 

ant."  On  it  are  shown  the  genius  of  "Time,"  a 
winged  female  figure  with  hour-glass,  the  genius 
of  "Light"  with 'flaming  torch,  the  sturdy  "Energy 
Re-awakened"  sounding  the  break  of  day.  Follow- 
ing these  are  the  figure  of  "Truth"  with  mirror 
and  sword,  triumphantly  emerging  from  a  group 
of  figures,  typifying  the  sinister  powers  of  Dark- 
ness; "Falsehood"  shrinking  from  its  own  image 
reflected  in  the  mirror  of  Truth,  and  "Vice"  cower- 
ing and  struggling  in  the  coils  of  a  serpent. 

Descending  Night. — Chaste  of  line  and  form, 
with  head  bowed  low,  her  countenance  in  gentle  sor- 
row, carried  by  dark  and  mighty  wing.  Night,  in 
peaceful  calm  is  settling  upon  the  terrestrial 
sphere. 

The  Fountain  of  the  Setting  Sun. — The 
sculptural  band  around  base  of  shaft  represents 
"The  Mystery  of  Dusk."  On  it  are  shown  the  gen- 
tle powers  of  Night.  "Dusk,"  enveloping  in  her 
cloak  the  figures  of  Labor,  Love  and  Peace,  typified 
by  an  exhausted  toiler,  a  mother  fondling  her  babe 
and  a  shepherd  playing  upon  his  reed  pipe.  Follow- 
ing these,  "Illusion,"  carried  upon  the  wings  of 
"Sleep."  Rising  gently  from  the  soil  are  the  male 
and  female  figures  symbolizing  the  "Evening  Mists," 
followed  by  the  "Star  Dance"  and  "Luna,"  the  god- 
dess of  the  Silver  Crescent.     ^  ^  WEINMAN. 

49 


THE  DREAM  CITY 

While  it  would  seem  that  Weinman  had  spent 
his  thought  and  power  in  the  creation  of  his  Rising 
Sun,  the  figure  of  the  Setting  Sun  is  one  daintier 
and  still  more  exquisite.  Well  the  artist's  soul 
knew  that  the  beauty  of  the  female  figure  would 
be  at  its  best  in  relaxation.  The  grace  and  soft- 
ness of  her  nude  form  is  almost  indescribable. 
If  all  vigor,  inspiration,  power  and  might  were 
called  in  for  the  Rising  Sun — surely  every  con- 
trasting possibility  has  been  used  in  Setting 
Sun,  and  nothing  more  elusive  has  been  suggested 
than  the  passing  of  the  day  in  this  figure.  Her 
head  is  drooping,  her  wings  and  arms  are  folding 
down,  her  wrists  and  hands  are  beginning  to  relax, 
she  is  breaking  at  the  waist  and  at  the  knees — soon 
she  will  stand  no  longer  on  her  toes.  Then  she  will 
have  ceased  to  exist  as  evening,  and  the  forces  of 
night  grouped  beneath  her  while  she  is  powerful, 
will  have  consumed  her  and  her  reign  will  have 
ceased. 


50 


ITS  ART,  STORY  AND  SYMBOLISM 


THE  ARCHES  OF  THE  EAST  AND  WEST. 

Two  things  remain  yet  to  study — the  great  arches 
of  triumph,  taken  from  those  built  in  honor  of  the 
Roman  conquerors.  These  are  used  here  in  fitting 
continuation  of  the  architect's  great  plan.  Nothing 
has  been  left  undone  seemingly  to  make  these 
arches  complete  in  inspiration.  In  the  thought 
bestowed  upon  them  we  have  every  type  of 
the  creative  ability  of  man.  The  great  form 
is  given  by  the  architect,  then  almost  as  part  of  the 
builder  the  sculptor  lends  his  skill,  the  mural  painter 
adds  his  beautiful  color  in  decoration  anqlest  all 
this  should  not  hold  us  and  something  still  fail, 
Mr.  Porter  Garnett  of  Berkeley  has  inscribed  some 
of  the  most  inspired  utterances  from  the  greatest 
minds  of  the  world,  and  when  you  read  them  they 
thrill  and  vibrate  with  the  music  of  life  and  pro- 
l_^  phecy  and  the  last  note  is  sounded.  For  these  are 
the  great  gifts  of  the  creative  power  of  man.  These 
are  the  things  springing  up  within  him  which  places 
him  next  to  God, — these  phases  of  the  Creator 
which  make  him  an  architect,  a  sculptor,  a  painter,  a 
writer  and  a  musician. 

The  sculptural  groups  crowning  each  arch  tell 
their  own  story  well.    They  are  the  combined  work 

51 


r 


THE  DREAM  CITY 

of  Lentelli,  Roth  and  Calder.  These  men  have 
given  a  tremendous  amount  in  these  pieces  of  work. 
They  have  brought  to  us  the  "Spirit  of  the  East" 
completely  even  though  its  form  sits  almost  con- 
cealed in  the  howdah  of  the  elephant.  All  the  weird 
mysticism  of  the  great,  silent,  desert  people,  hovers 
over  those  figures  as  they  approach  the  west,  and 
their  religion  and  philosophy — the  meaning  of 
which  we  are  only  beginning  to  grasp — seems  to 
wrap  them  completely  around.  It  is  strange,  but  it 
is  true,  that  a  feeling  of  awe  and  reverence  takes 
possession  as  we  contemplate  these  sturdy  people 
from  the  far  east  trying  to  realize  how  closely  they 
may  enter  upon  our  lives  since  the  eradication  of 
the  distance  separating  us.  Taking  them  from  left 
to  right  they  are  : 

The  Arab  sheik,  with  his  fine  Arabian  steed. 

The  Negro  servitor  walking,  with  fruit  upon  his 
head. 

The  Egyptian  upon  his  camel. 

The  Arab  falconier. 

The  Hindu  Prince  seated  upon  the  elephant, 
while  inside  the  howdah  rides  the  Spirit  of  the  East. 

The  Lama  from  Thibet. 

The  Mohammedan  upon  his  camel. 

The  negro  servitor, 

52 


ITS  ART,  STORY  AND  SYMBOLISM 

The  Mongolian  soldier  upon  his  war  horse. 

In  this  arch  way  are  the  mural  paintings  of  Ed- 
ward Simmons.  Remember  that  these  painters  are 
bound  close  to  a  color  scheme  and  that  the  four 
colors  prescribed  by  Jules  Guerin  with  their  imme- 
diate shades  are  all  within  reach  of  these  men  accus- 
tomed to  choose  with  freedom  the  colors  with  which 
they  would  speak.  Simmons  has  taken  the  more 
delicate  tones  and  has  given  something  en- 
tirely different  in  character  from  the  color  scheme 
of  Dodge.  Facing  the  south,  upon  the  right  wall 
of  the  arch,  you  have  represented  by  men,  the 
different  nations  of  the  East  who  have  turned  their 
faces  westward  at  various  times  in  history.  A  little 
bugler  with  assurance  amounting  almost  to  pertness 
prances  on  before  them,  tempting  them  to  follow. 
First  comes  the  adventurer  from  lost  Atlantis,  the 
Roman  next  and  following  him  those  from  central 
and  Southern  Europe — the  English  and  Spanish, 
then  quickly  come  the  arts  and  religion  the  immi- 
grant of  today,  the  workman,  and  behind  with  her 
figure  draped  is  the  veiled  future. 

The  mission  of  a  mural  painting  is  merely  to 
decorate  the  wall,  flat  and  wall-like  it  must  be. 
The  first  mural  decorations  were  largely  of  stone 
(mosaic)  a  medium  lending  itself  excellently  to  the 

S3 


THE  DREAM  CITY 

built  wall,  and  Simmons  with  a  painted  stroke  has 
cleverly  imitated  mosaic  and  his  murals  would  de- 
ceive any  one  as  to  the  medium  used. 

On  the  opposite  wall  we  have  the  part  played  by 
the  minds  of  man  in  this  undertaking  represented 
by  women.  The  spirits  who  lure  on  in  this  proces- 
sion are  two  beautiful  wind-blown  women  leaving 
behind  them  an  array  of  iridescent  bubbles.  Bub- 
bles filled  to  the  utmost  with  beautiful  and  enticing 
tales.  One  fascinated  woman  chases  the  bubbles. 
With  nothing  but  their  color  and  form  for  stability — 
which  is  no  stability  at  all — she  leaves  the  rank  and 
file  to  pursue.  Those  who  follow  come  with  pru- 
dence uppermost  and  they  with  Exploration,  Trans- 
portation (the  woman  carrying  the  sail  and  steam- 
boats), Inspiration,  Truth  (with  a  cross  on  her 
breast).  Beauty  and  Productivity  make  an  array 
of  characteristics  which  are  substantial — not  tran- 
sient as  the  bubble  and  its  beauty. 

In  the  group  upon  the  western  arch  we  have  all 
the  types  known  intimately  to  us.  There  every  one 
can  and  does  speak  for  himself,  each  has  played 
a  part  in  this  western  history  and  we  love  every  one 
of  them.  See  how  well  the  sculptors  have  pre- 
served the  balance  of  the  two  groups.  In  main- 
taining the  pyramid  form  throughout  it  has  been 

54 


ITS  ART,  STORY  AND  SYMBOLISM 


55 


THE  DREAM  CITY 

necessary  to  raise  the  height  of  the  large  wagon  and 
A.  StirHng  Calder  has  placed  the  victorious  Spirit 
of  Enterprise  above  the  wagon  and  the  little  white 
and  colored  boys  beside  her,  calling  them  the 
"Hope  of  Tomorrow," — in  this  way  keeping  the 
highest  point  in  the  groups  equal. 

From  left  to  right  these  are : 

The  French-Canadian  trapper. 

The  Alaskan  carrying  her  totem  poles. 

The  Latin-American  on  horse-back  with  his 
standard. 

The  German  and  the  Italian  on  either  side  of  the 
oxen. 

The  Anglo-American  on  horseback. 

The  American  Squaw  with  her  pappoose  basket. 

The  American  Indian  on  his  horse. 

Upon  the  tongue  of  the  wagon  holding  to  a  strap, 
standing  between  the  two  superbly  powerful  oxen, 
is  the  figure  of  A.  Stirling  Calder's  fancy.  A  broad 
shouldered,  fine  framed,  brawny  young  woman. 
With  head  thrown  back  slightly  she  looks  earnestly 
into  the  distance.  Calder  has  not  weakened  her  by 
giving  her  beauty.  She  is  the  strong,  powerful 
type  of  woman  who  came  into  pioneer  life  well 
equipped  to  meet  its  hardships,  and  one  glance  will 
convince  the  visitor  that  she  is  the  right  one  in  her 

56 


r 


ITS  ART,  STORY  AND  SYMBOLISM 

serious,  unshrinking  mien  to  assume  the  great  duty 
placed  upon  her — that  of  becoming  the  mother  of 
this  glorious  West — "The  Mother  of  Tomorrow." 
The  mural  work  upon  the  walls  of  this  arch  is 
by  Frank  Vincent  DuMond.  The  two  are  really 
one  connected  story  of  the  pioneer.  Facing  north 
the  painting  on  the  right  begins  with  the  hopeful 
young  man  leaving  home,  the  father  and  mother 
and  sister  saddened  by  the  leave  taking.  Sorry,  but 
undaunted  the  young  man  with  his  party  equipped 
splendidly  for  the  journey  across  the  plains  departs 
led  on  by  the  figure  who  with  her  "horn  of  plenty" 
tells  the  story  of  untold  wealth  and  opportunity,  a 
story  always  attractive  to  the  man  with  hope  and 
adventure  seated  in  his  heart.  The  left  wall  gives 
the  arrival  upon  the  Pacific  Coast.  California 
seated  amidst  her  golden  plenty  welcomes  to  her 
shores  the  group  who  have  long  been  seeking  her. 
They  stand  in  all  their  splendid  hopefulness — the 
artist,  the  writer,  the  builder,  the  man  of  all  work, 
ready  to  begin  this  last  great  chapter  in  the  civiliza- 
tion of  the  West. 

In  leaving  this  Court  of  the  Universe  one  cannot 
but  feel  that  it  has  given  a  message  of  achievement 
almost  beyond  belief.  It  has  been  a  revelation  to 
study  bit  by  bit  the  utterances  of  these  various  men 

57 


THE  DREAM  CITY 

who  have  spoken,  and  one  can  never  have  taken  it 
in  with  appreciation  without  being  in  some  degree 
greater  than  before.  It  is  true  of  all  the  work  of  .J 
the  Panama-Pacific  International  Exposition,  from 
first  to  last  it  is  filled  with  a  splendid  spirit  of  uplift 
and  inspiration,  and  through  it  our  master  minds 
have  spoken  in  terms  most  noble. 

Passing  through  the  Italian  minor  court  with  its 
stenciled  walls,  little  medallions  reminding  one  of 
Delia  Robia,  its  beautiful,  ornate  columns  varied  in 
pairs,  with  flowers  everywhere  and  beautiful  en- 
trances enriching  the  walls,  we  come  to  the  Court 
of  Four  Seasons. 

In  the  Court  of  the  Universe  it  was  great  size, 
dignity  and  the  suggestion  of  power  that  held  us 
engrossed ;  here  it  is  quiet,  peaceful  and  poetically 
beautiful.  The  trees  and  bushes  shelter  singing 
birds,  and  the  warm  sunshine  seems  even  more  a 
part  of  the  plan  than  before.  Henry  Bacon  of  New 
York  is  the  architect,  August  and  Adolph  Jaegers 
are  the  sculptors  who  have  ornamented  the  Court. 
Here  the  feeling  of  pastoral  plenty  abounds 
everywhere.  Flora,  Ceres,  the  Seasons,  Rain  and 
Sunshine,  are  the  statues  with  whom  we  must  ac- 
quaint ourselves,  and  again  the  spirit  of  the  thing 
to  be  conveyed  rests  heavily  in  all  that  we  contem- 

58 


ITS  ART,  STORY  AND  SYMBOLISM 

plate.  Is  it  not  fascinating  to  see  how  these  wizards 
of  thought  and  suggestion  are  able  to  change  our 
moods  ?  It  has  all  the  charm  and  glory  of  the  world 
here  and  every  phase  of  its  productivity  is  placed 
in  some  expressive  way  before  us. 

The  great  half-dome  throws  its  wide-yawning 
beauty  towards  us  and  with  Harvest  sitting  en- 
throned upon  its  heights,  it  would  seem  to  be  the 
starting  place  for  study.  On  either  side  the  dome 
surmounting  two  columns  of  Siena  marble  stand  the 
statues  of  Rain,  with  her  shell  catching  the  fall- 
ing drops,  and  Sunshine  with  her  sheltering  palm; 
these  are  by  Albert  Jaegers.  The  capitals  of  these 
columns  are  unusual  and  worth  a  serious  moment. 
Instead  of  the  scroll  or  leaf  they  are  small  human 
figures — the  toilers  and  tillers  of  the  field — largely 
subjects  of  Rain  and  Sunshine. 

Entering  the  half-dome  we  see  upon  the  right 
one  of  the  largest  of  the  mural  decorations  of  Mil- 
ton Bancroft,  the  painter  of  the  whole  series  in  this 
Court  of  Four  Seasons. 

The  picture  is  Man  Receiving  Instruction  in  Na- 
ture's Law;  opposite  it  Time  Crowning  Art;  stand- 
ing about  Art  are  six  of  her  great  subjects — Jewel- 
rymaking.  Weaving,  Glassmaking,  Painting,  Smith- 
ing and  Pottery.    The  pictures  are  strong  and  tell 

59 


THE  DREAM  CITY 

plainly  the  story  Bancroft  has  entrusted  with  them. 
They  do  not  constitute  the  entire  beauty  of  the  dome 
however,  see  the  finely  arched  ceiling  and  the 
beautiful  vine  half  conventionalized  used  at  the 
portal. 

The  court  has  been  squared  by  four  circling 
niches — each  niche  has  its  own  sculptural  group, 
by  Picirrilli,  sitting  above  a  cascade  fountain — and 
each  two  walls  of  the  niche  is  graced  by  mural 
painting  of  Bancroft.  To  begin  with  Spring  one 
must  cross  the  circle.  She  is  not  difficult  to  find. 
She  is  the  center  of  her  pyramidal  group  on  either 
side  companion  figures  suggesting  love  and  fruitful- 
ness.  Milton  Bancroft's  murals  speak  for  them- 
selves— and  being  named  by  the  artist — "Spring" 
and  "Seedtime,"  one  cannot  mistake  them.  On  the 
left  we  come  to  Summer.  The  mother  here  with 
suffering  and  love  in  evidence  presents  to  her  hus- 
band the  tiny  child,  the  fruit  of  this  springtime  of 
love.  Bancroft's  murals  again  named  for  us  Sum- 
mer and  Fruition.  Next  comes  Autumn  and  here 
again  Piccirilli  speaks  tellingly  of  the  season. 
It  is  the  time  of  harvest  and  great  labor,  storing 
up  the  gifts  of  Spring  and  Summer,  happy  in 
effort  and  glad  of  the  last  great  season's  struggle. 
The  murals  again  tell  the  same  story  with  more 

60 


ITS  ART,  STORY  AND  SYMBOLISM 

of  the  festival  spirit  emphasized  this  time,  Autumn 
and  Harvest  they  are  called. 

Then  comes  Winter,  perhaps  the  most  charming 
of  the  Piccirilli  groups.  Winter,  a  beautiful  nude 
woman,  stands  inactive,  quiet  and  pensive,  almost 
drooping,  and  beside  her  an  old  man  nearly  spent 
by  the  toil  of  the  year  and  on  the  other  side  one 
still  strong  and  able  to  carry  into  the  next  period 
the  life,  effort  and  power  necessary  to  bring  it  on. 
This  has  been  one  great  motive  in  all  these  season 
groups,  the  passing  of  the  time  has  been  plainly 
told,  but  Piccirilli  has  always  left  something  hope- 
ful for  the  next  required  need,  and  the  oncoming 
year  will  have  support  and  aid  from  these  living 
factors  of  the  passing  season. 

The  murals  here.  Winter  and  Festivity,  give  the 
joyful  side  of  this  season  which  brings  the  year's 
death. 

Again  fearing  that  words  were  needed  in  order 
that  all  the  symbolism  might  be  interpreted,  Mr. 
Garnett  has  chosen  quotations  from  men  of  bril- 
ls liance  whose  words  aid  in  this  mission. 

There  are  innumerable,  smaller  and  less  obtru- 
sive things  which  make  the  Court  of  Four  Seasons 
reposeful,  and  poetical  in  its  beauty.  The  pool  in 
the  center  of  these  circling  niches,  gateways  and 

61 


r 


THE  DREAM  CITY 

columns,  reflects  indescribably  the  whole,  and  by 
day  they  are  fine,  but  by  night  they  are  almost  of 
another  world  with  their  reflections. 

The  figure  of  Abundance  repeated  four  times 
over  each  entrance  by  August  Jaegers  is  one  of, 
superb  strength  and  form.  Her  fine  face,  well 
filled  arms  and  stiff  robes  make  her  strong  to  serve 
and  she  fills  her  mission  well.  The  names  of  the 
signs  of  the  Zodiac  are  given  on  these  gateways  and 
another  charm  is  added  in  his  female  figures  used 
as  spandrels. 

Don't  fail  to  look  up  jat  the  ceilings  of  these  en- 
trance ways  and  see  the  delicate  decorations  in  blue 
and  white.  These  medallions  and  plaques  have  all 
the  charm  of  the  early  Greek  work  spent  upon  the 
dancing  figures  so  prettily  spaced  in  their  surround- 
ings. One  recalls  the  effect  of  the  Pompeian  dec- 
orations when  looking  at  this  dainty  decoration  and 
sighs  with  regret  when  thinking  of  the  hundreds 
who  will  pass  it  by  and  never  see  this  bit  of  charm- 
ing work. 

Notice  the  capitals  of  the  columns  of  the  whole 
court,  the  Ionic  scroll,  and  below  it  great  ears  of 
corn,  an  innovation,  but  appropriate  in  this  court 
which  over  and  over  in  stone  and  colors  has  given 
utterance  to  the  earth's  blessings. 

62 


ITS  ART,  STORY  AND  SYMBOLISM 

While  the  eyes  are  turned  upward  the  "Sacrifice 
Group"  of  Jaegers  can  never  escape  them.  Since 
BibHcal  and  pagan  times  this  fine  bull  has  taken 
his  part  in  the  appreciative  expression  of  humanity. 
For  centuries  past  when  the  joyful  occasion  of 
thanksgiving  have  consumed  the  time  of  men,  it 
has  been  in  keeping  to  lead  a  strong,  healthy  bull 
to  the  altar  of  sacrifice,  and  since  we  are  missing 
nothing  in  these  days  of  celebration  Albert  Jaeger's 
fine  remembrance  of  ancient  custom  stands 
mounted  upon  the  two  pylons  of  this  court. 

The  last  thing  to  describe  in  this  beautiful  place 
is  Miss  Longman's  fountain  of  Ceres.  Another 
touch  of  pagan  beauty  here.  Ceres  is  just  descend- 
ing like  a  winged  victory  upon  the  pedestal  where 
she  is  to  remain  for  ten  months.  Her  sceptre  a 
full  stalk  of  corn,  and  in  her  outstretched  hand 
the  cereal  wreath  of  victory  for  the  successful  toiler. 
Upon  the  die  of  this  fountain  we  have  another  in- 
stance of  the  fine  Greek  relief  example  spoken  of 
in  relation  to  the  Atlas  frieze.  Dancing  about  in  a 
circular  procession  are  beautiful  young  women. 
Each  wonderfully  dainty  in  her  exquisite  grace, 
and  each  so  free  from  all  background  effect 
and  crowding  that  she  stands  alone.  At  the  same 
time  each  is  very  much  a  part  of  the  whole — they 

63 


THE  DREAM  CITY 

carry  interest  one  to  another  by  the  clever  device 
of  composition,  a  smile,  a  gesture,  the  extending 
of  the  garland,  the  rhythm  of  the  beating  symbols, 
a  backward  glance,  all  are  natural  means  whereby 
Miss  Longman  propels  them  as  a  unit — yet  with 
fine  Greek  fundamental  facts  she  keeps  them  free 
in  their  individual  beauty.  They  are  as  dainty  as 
cameo  or  porcelain. 

Passing  through  the  dome  to  the  south,  we  enter 
the  small  Court  of  Palms.  This  is  one  of  the  most 
ornate  courts  of  the  grounds.  Everywhere  you  have 
the  glory  of  the  Guerin  color  scheme.  The  cornice 
is  a  joy  in  itself  and  reaching  up  to  it  you  have  the 
fruit  and  floral  festoons  in  abundance.  The  col- 
umns here  are — richer  than  those  we  have  left — 
Siena  marble  and  the  verdi  antique  also.  The 
colonnade  is  impressive  and  lighted  by  huge  Ro- 
man lanterns  which  are  nothing  short  of  exquisite 
when  yielding  their  indirect  light  at  night.  A 
fountain,  acacias,  and  flowers  with  the  palm  in 
greater  evidence  make  this  court  attractive  too  in  its 
beauty.  Over  the  three  entrance  ways  of  this  court 
are  fascinating  murals — on  the  western  entrance 
is  Childe  Hassam's  "Shower  of  Blossoms,"  rich 
and  joyful  in  its  beauty.  To  the  north  is  "The 
Victorious  Spirit"  by  Arthur  F.   Mathews.     This 

64 


65 


THE  DREAM  CITY 

seems  full  of  symbolism,  the  fine  glowing  yellow 
spirit  seated  in  the  center  is  the  one  from  whom 
all  good  influence  emanates  with  the  power  of  her 
spiritual  ideal  and  wondrous  color,  she  with  her 
glance  and  outstretched  arms  restrains  the  coming 
opposing  force  upon  the  horse. 

In  the  third  entrance,  over  the  door  in  the  east, 
Holloway's  "Pursuit  of  Pleasure"  is  seen.  Much 
of  the  success  of  the  semi-circular  pictures  is  in  the 
grouping  or  spacing  and  these  are  all  done  exceed- 
ingly well.  One  only  needs  to  glance  at  this  one  to 
see  with  what  unusual  grace  these  figures  are 
poised.  Those  on  the  ground  are  actively  interested 
while  those  in  pursuit  of  the  flying  Pleasure  are 
grace  itself.  Holloway  has  used  his  colors  here 
beautifully,  the  deep  blue  of  the  sea,  various  gar- 
lands and  radiant  figures  make  a  fine  mural. 

Out  at  the  entrance  Ts  one  of  the  strongest  bits 
of  realistic  statuary  on  the  grounds,  James  Fraser's 
"End  of  the  Trail."  Over  in  front  of  the  Court  of 
Flowers  the  corresponding  court  to  this  is  the 
statue  which  naturally  precedes  this  one,  "The 
American  Pioneer,"  by  Solon  Borglum.  This  speci- 
men of  the  pioneer  world  rides  out  on  his  horse 
to  victory.  Sure  of  himself,  with  experience  as  his 
guide,  he  knows  he  only  has  to  make  his  struggle  a 

66 


ITS  ART,  STORY  AND  SYMBOLISM 

continuous  one  to  succeed  in  this  undertaking. 
Seated  upon  his  powerful  horse,  complacent,  yet 
alert  and  keenly  alive  to  the  situation  he  rides  on 
to  vanquish  all  opposing  forces  in  the  West.  And 
this  fine  Indian  is  at  that  time  one  of  the  greatest 
of  these  opposing  forces. 

James  Fraser  has  given  us  an  idealized  Indian, 
not  the  one  we  know  but  the  superb  being  he  might 
have  been,  doubtless  the  type  of  man  he  was  before 
he  had  ever  seen  or  dreamed  of  the  white  man.  Had 
this  Indian  been  less  he  would  not  have  held  us  as 
he  does.  As  he  is  placed  here  before  us  by  the 
sculptor  his  race  is  run,  his  end  is  near  and  he  has 
abandoned  hope,  not  because  he  can't  fight  any 
more,  there  is  power  and  endurance  in  abundance 
in  his  large  physique,  but  he  realizes  his  position, 
that  his  people  of  whom  he  is  the  last  have  been 
doomed  and  with  broken  heart  and  utter  despair 
he  is  giving  up  and  waiting  the  end  which  his 
sturdy,  plucky  horse  is  delaying.  Look  at  the 
horse.  Every  hair  wet  with  the  effort  he  is  making 
to  stand  upon  the  cliff.  The  hind  hoofs  will  never 
rest  again  upon  the  level  ground ;  it  is  only  a  ques- 
tion of  a  short  length  of  time  when  weariness  will 
bend  his  front  legs  and  horse  and  rider  will  take 
the  fatal  plunge.  The  following  lines  could  well 
be  true : 

67 


THE  DREAM  CITY 


O  thou  my  steed !  last  faithful  one, 

The  West  glows  red  with  the  setting  sun, 

No  more  he'll  light  for  you  and  me 

The    splendid  things  we  loved  to  see. 

The  singing  birds  in  the  forest  trees, 

The  seas  of  grass  waved  by  the  breeze, 

The  plains,  the  hills,  the  mountain  heights, 

Deep  waters  with  reflected  sights 

Taken  by  the  white  man's  slaughter 

Were  all  these — and  Red  Chief's  daughter. 

And  now  it's  over — you  and  I, 

With  this  day's  death  must  surely  die ; 

No  battling  host,  no  war  cries  thrill. 

Just  you  and  I — this  vastness.    Still ! 

Take  the  abyss  we  can  not  clear  it 

Receive  my  steed  and  me.    Great  Spirit! 


68 


ITS  ART,  STORY  AND  SYMBOLISM 


69 


THE  DREAM  CITY 

THE  COURT  OF  FLOWERS. 

This  court  is  together  with  the  Court  of  Pahns 
the  most  ornate  with  color,  and  decoration,  evolved 
from  the  combination  used  by  Jules  Guerin.  It  is 
impossible  to  write  of  all  the  features  of  the 
Exposition.  Over  and  over  the  visitor  must  be 
advised  to  use  his  eyes — and  never  fail  to  use  them. 
No  place  has  been  overlooked  by  these  magic 
builders  and  in  the  most  unexpected  places  new 
beauties  of  great  merit  are  to  be  found.  The  Italian 
Towers  here  are  as  attractive  and  delightfully  used 
as  at  the  Court  of  Palms.  These  towers  break  the 
great  wall  space  which  otherwise  would  be  un- 
broken on  this  south  side  but  for  the  Tower  of 
Jewels.  It  is  interesting  to  see  how  many  ways  the 
architects  have  brought  change  and  variety  into  the 
plan,  and  how  entirely  they  have  kept  the  severe 
simplicity  of  the  grouped  buildings  concealed. 

Trees  and  beautiful  portals  are  among  the  most 
frequent  devices  for  variety.  The  copy  of  the  great 
portal  of  the  Holy  Cross  Hospital  in  Toledo  used 
for  the  Varied  Industries  Building  is  a  delightful 
reproduction. 

Thousands  of  people  have  been  so  fascinated  by 
the  grounds  and  the  exterior  ornamentation  that 
they  have  not  yet  been  tempted  to  forsake  them  for 

70 


Portal— Varied  Industries 

•71 


THE  DREAM  CITY 

the  exhibits  ui  the  palaces.  It  is  not  vain  boast- 
ing, or  local  pride,  when  the  foreign  commis- 
sioners speak  in  such  superlative  praise  of  the 
art  and  symbolism  of  this  great  fair.  Men 
who  serve  their  country  in  this  capacity  alone,  hav- 
ing spent  years  (from  twenty  to  forty)  attending 
and  installing  exhibits  at  exhibitions  in  every  land, 
take  off  their  hats  and  bow  low  in  appreciation  of 
the  extraordinary  beauty  of  the  Exposition. 
People  everywhere  are  beginning  to  realize  that 
this  tremendous  dream  visualized  for  us  by  some 
of  the  world's  greatest  architects,  sculptors  and 
painters  is  the  last  word  in  achieved  excellence  all 
its  own.  And  this  Court  of  Flowers  is  one  of  the 
dainty  bits — filled  to  overflownig  with  delights. 

The  flowers  and  shrubbery  are  always  in  evidence 
and  always  speak  for  McLaren.  The  colored  col- 
umns, the  corridors  with  their  fine  lighting  are  all 
in  keeping  but  different  to  the  extent  of  variety 
from  the  same  things  presented  before. 

The  balcony  of  the  colonnade  has  shell-like  niches 
in  each  niche  is  the  beautiful  figure  of  the  slave 
girl — a  fine  piece  of  work,  with  unusual  drapery  in 
its  rich,  stifif  ornamentation,  she  is  another  bit  of 
the  brain  of  A.  Stirling  Calder.  We  can  scarcely 
praise  one  man  without  including  all.     Geo.  Kel- 

72 


ITS  ART,  STORY  AND  SYMBOLISM 

ham  of  San  Francisco  is  the  architect  of  this  court, 
and  these  men  fine  in  their  ability  and  character- 
istic individuality  are  linked  indissolubly  with  Jules 
Guerin  and  John  McLaren. 

The  fountain  of  Beauty  and  the  Beast  is  by  Ed- 
gar Walter  of  San  Francisco. 

The  statue  of  the  "American  Pioneer"  by  Solon 
Borglum  was  mentioned  in  connection  with  the 
corresponding  statue  at  the  Court  of  Palms,  Era- 
ser's "End  of  the  Trail." 

COURT  OF  THE  AGES. 
The  South  Court  of  the  Exposition  is  the  court 
of  Louis  Mullgardt,  the  architect  of  the  Fisheries 
Building  at  the  Chicago  World's  Fair.  In  the  Court 
he  has  given  the  Exposition  we  have  a  most  extra- 
ordinary conception.  In  the  first  place  this  was  to 
have  been  the  festival  court.  The  organ  now  in 
Festival  Hall  was  to  have  been  installed  in  the 
organ  tower  (still  called  Organ  Tower  in  the  guide 
book)  and  the  court  was  designed  with  the  pageants 
to  be  given,  in  view.  The  gallery  was  really  to  have 
served  as  a  seating  space  for  the  spectators  and  the 
use  of  the  court  was  to  have  been  far  more  than 
merely  ornamental.  With  this  in  mind,  Mr.  Mul- 
gardt  called  it  the  "Court  of  the  Ages"  and  pro- 
ceeded to  make  the  name  rich  in  meaning. 

11 


Tower — Court  of  Ages 

74 


ITS  ART,  STORY  AND  SYMBOLISM 

The  decoration  is  so  dainty  and  feathery  that  it 
has  been  called  everything  from  lace  to  frozen 
music ;  none  of  which  suits  when  one  stops  long- 
enough  to  grasp  the  reality  in  the  ornamentation. 
The  court  impresses  the  visitor  as  having  received 
almost  the  necessary  work  a  jewel  casket  might 
have  had  at  the  hands  of  Pieter  Vischer,  the  old 
Nurnberg  goldsmith.  Yet,  again  this  impression 
must  give  place  to  another  when  these  arched  ar- 
cades of  Mullgardt's  yield  up  their  secret,  for  they 
do  carry  a  secret  which  they  only  divulge  when 
carefully  scrutinized,  when  they  are  found  to  be 
teeming  with  suggested  life. 

The  first  row  of  decoration  about  the  inner  sur- 
face of  the  arches  of  the  arcade  contains  two  mo- 
tives. One  is  a  conventionalized  tad-pole.  His 
feet  and  the  tip  of  his  tail  made  into  a 
flower,  but  he  is  a  tad-pole,  true  enough  and  large 
enough  to  walk  off  should  he  so  desire.  Alternat- 
ing with  him  is  a  four-petaled  flower,  the  anemone. 
These  two  figures  make  the  entire  circle  of  the 
arch — of  every  arch. 

The  second  row  of  ornamentation  begins  with 
great  long  leaves  reaching  up  a  space  which  is 
broken  by  a  crawfish  wrapping  itself  across  the 
garland  about  every  half-yard.    This  leaf  and  craw- 

75 


THE  DREAM  CITY 

fish  festoon  meets  the  other  half  of  itself  at  the  top 
of  the  arch  where  the  crawfish  are  placed  in  a 
design  like  an  X  finishing  this  motive. 

The  next  bit  of  decoration  does  not  circle  the 
arch  but  raises  itself  in  a  straight  line  to  the  balus- 
trade of  the  balcony.  This  decorative  design  seems 
to  be  a  conventionalized  spine  broken  at  regular 
distances  by  a  shell-like  cup.  Coming  up  in  its 
vertical  form  it  ends  in  every  case  in  the  statue  of 
the  primitive  men  and  women  by  Weinert.  You 
have  here  plant  life,  lower  animal  life  and  the  hu- 
man placed  in  decoration  but  telling  the  tale  of  the 
ages.  Notice  that  the  plant  and  animal  life  motives 
go  in  circles  about  the  arches — never  becoming 
more  than  they  were  in  the  beginning — and  the 
spinal  motive  never  circles — it  goes  straight  to  the 
top  every  time,  ending  in  man  or  woman,  thereby 
becoming  the  greatest  thing  created. 

On  the  great  entrance  arches  to  the  north  and 
south  Mullgardt  has  given  richer  decoration  still. 
Here  he  has  snails,  crabs,  turtles,  octopi  with  long 
tentacles,  and  a  varied  richness  in  the  more  elabor- 
ate design  used.  These  specimens  of  sea  life  are 
not  seen  at  first,  they  come  in  an  illusive  way.  They 
are  seen  for  an  instant  and  then  vanish — lose  them- 
selves entirely,  then  they  come  again  and  you  know 

76 


ITS  ART,  STORY  AND  SYMBOLISM 

that  they  are  not  fancies  of  a  deluded  brain,  but  real 
decorative  motives  placed  there  to  give  an  addi- 
tional charm  to  this  court  filled  with  surprises  and 
suggestion. 

The  columns  standing  directly  in  front  of  the 
organ  tower  are  decorated  with  frog's  faces  which 
circle  the  shafts  in  rows.  Their  eyes  are  upon  the 
spectator  with  such  a  steady,  fixed  stare  that  a  feel- 
ing of  uncanniness  possesses  him  and  he  rather 
longs  for  the  time  to  come,  which  surely  will  come, 
when  the  frogs  will  relieve  their  eyes  by  a  good 
long,  deliberate  blink.  In  front  of  these  stand  the 
Lentelli  columns  graced  by  the  playful  "Water 
Sprites."  Seated  on  top  of  the  shaft  is  the  charm- 
ingly graceful  water  maid  aiming  her  arrow  into  the 
space  which  but  for  plans  changed  would  have  been 
a  delightful  cascade  fountain. 

Walk  into  the  colonnade  and  turn  to  the  west 
(your  left).  You  will  be  approaching  the  wonder- 
ful Brangwyn  murals.  Eight  of  them  dealing  with 
the  elements — Earth,  Air,  Water  and  Fire — orna- 
ment the  corners  of  the  colonnade.  As  Brangwyn 
has  given  them  to  us  they  deal  with  more  than  the 
elements — they  have  to  do  with  man's  part  in  cop- 
ing with  and  mastering  the  elements.  Those  you 
arc  coming  to  are  the  two  dealing  with  "the  earth 


THE  DREAM  CITY 

and  the  fullness  thereof."  Jubilant,  rebellious  and 
riotous  is  the  mass  of  color  used  here  in  the  earth's 
productivity,  and  the  abundant  measure  of  its  gifts 
is  just  as  extravagant.  Primitive  men  and  women 
rejoice  in  gathering  these  blessings  and  it  would 
seem  that  the  curse  of  Eden  had  been  removed 
and  that  the  "sweat  of  the  brow"  need  play  no  part 
in  the  harvest  of  the  bountiful  gifts  of  this  earth  of 
Brangwyn. 

Passing  on  again  to  the  left  (the  south)  through 
perhaps  the  most  beautiful  corridor  of  all  the  Expo- 
sition courts — with  its  ivory,  light  blue  and  soft  rose 
tinted  walls — we  reach  the  two  paintings  by  Brang- 
wyn called  Air.  In  the  first  one  you  see  the  wind- 
mill, by  which  man  makes  the  air  serve  him,  the 
wind-blown  grain  fields,  and  in  the  sky  the  rainbow 
of  promise  and  the  kites  of  the  playing  children. 
The  companion  piece  is  entirely  different  in  its  con- 
ception. Great,  large-bodied  trees  raise  themselves 
to  an  invisible  sky,  hunters  are  shooting  at  birds 
which  fly  almost  straight  up — a  beautiful  device  to 
avoid  distance — a  forbidden  quantity  in  murals. 
These  panels  are  extraordinary — they  take  poses- 
sion  entirely  of  our  appreciation  and  fill  these  wall 
spaces  superbly. 

Continuing  on  to  the  left  (the  west  this  time)  we 

78 


ITS  ART,  STORY  AND  SYMBOLISM 

come  to  the  two  panels  called  Water.  Again  primi- 
tive beings  are  using  this  great  element  for  their 
own  good.  Happy  and  fearless  they  crowd  about 
catching  the  precious  fresh  stream  in  great  earthern 
vessels,  while  all  about  them  blossom  water 
flowers.  Look  closely  at  the  sky  effects — 
they  tell  plainly  that  Brangwyn  understands  all 
about  stained  glass.  The  exquisite  opal  tints  with 
pink  and  pale  purple,  seem  almost  a  leaded  bit  from 
some  cathedral  window.  This  is  the  first  time  it 
has  been  intimated  in  these  pages,  but  the  visitor 
in  the  Court  of  the  Ages  sooner  or  later  must  feel 
this — that  there  is  a  dignity,  an  awe  inspiring  beauty 
met  here  for  the  first  time,  and  that  Mullgardt's 
court  is  the  cathedral  of  the  Exposition.  These 
paintings  of  Brangwyn  are  of  this  cathedral  and 
tell  so  much,  hold  so  much !  And  the  color !  It 
would  seem  there  is  a  world  of  it,  yet  he  too  paints 
to  the  scheme  of  Jules  Guerin.  Is  it  not  one  of  the 
chief  wonders  of  this  great  plan — the  characteristic, 
individual  way  these  different  artists  have  used 
their  colors?  Some  of  them  dainty  as  pastel  in  their 
combinations,  others  not  so  conservative  but  more 
academic,  others  vigorous  and  strong  with  dark 
shades  and  deep  blues — and  then  this  superlative 
man   who   would   seem   almost   color   mad — comes 

79 


THE  DREAM  CITY 

and  takes  our  breath  away  with  his  grotesque, 
primitive  men  and  women  who  lend  themselves  so 
entirely  to  his  wonderfully  bright,  powerful,  decora- 
tive color. 

Pass  on  to  the  last  two  panels — always  look  up 
to  the  ceiling — enjoy  again  the  blue  ground  vault- 
ing the  beautiful  ivory  lanterns — two  hanging  in 
each  arch — not  enough  can  be  said  of  the  beauty 
of  these  exquisite  corridors. 

Brangwyn's  last  two  paintings,  called  Fire,  are 
here,  and  again  we  are  charmed  by  the  story  he  tells 
with  his  marvelous  brush  and  color.  In  the  first 
canvas  we  study,  primitive  man  is  seen  bringing 
fire  to  his  use  and  comfort.  This  raging  element 
under  control  causes  the  old  to  draw  near  and  enjoy 
the  warmth  yielded  by  fire  as  a  physical  adjunct. 

The  second  panel  of  Fire  is  where  men  use  it 
to  complete  their  labors  and  make  them  worth 
while.  The  earthen  ware  would  be  of  no  value  but 
for  the  trying,  hardening,  tremendous  heat  of  the 
applied  fire.  With  the  smoke  curling  up  in  a 
diaphanous  haze  Brangwyn  again  brings  into  his 
painting  an  unusual  effect.  The  visitor  turns  from 
these  mural  paintings  with  a  bit  of  thanksgiving  in 
his  heart — for  these  are  not  to  perish  when  the  last 
day  comes.    These  fine  murals  are  all  painted  upon 

80 


ITS  ART,  STORY  AND  SYMBOLISM 

canvas,  will  all  be  taken  down  and  used  in  appro- 
priate places  to  bring  joy  for  future  years. 

Brangwyn  is  the  only  mural  decorator  who  did 
not  visit  the  site  where  his  pictures  would  hang. 
Jules  Guerin  insisted  in  every  other  case  that  the 
man  should  see  and  know  his  wall  space  which  he 
had  to  cover.  It  is  easy  to  see  how  they  entered 
into  the  spirit  of  their  work.  Bancroft  made  his 
pictures  for  the  square  spaces  allotted  him  in  the 
Court  of  Four  Seasons  almost  like  easel  pictures 
in  form  and  grouping.  Childe  Hassam,  Holloway 
and  Mathews  had  each  his  lunette  to  study  with 
its  difficult  space  to  fill.  Dodge,  Du  Mond  and 
Simmons  made  their  decorations  for  their  great 
arches  into  processional  panels.  Then  came  Brang- 
wyn's  with  his  tall  arched  panel  space  to  fill  and  it 
is  wonderfully  done.  The  height  though  unusual 
is  never  oppressive  and  always  the  eye  follows  to 
the  utmost  his  topless  trees  and  charming  devices 
of  subject  matter  and  color. 

Returning  to  the  Court  let  your  study  turn  to 
the  central  fountain.  This  Fountain  of  Earth  by 
Aitken  is  a  sermon  in  stone,  but  it  is  only  one. 
There  are  others  to  be  found  in  this  court  of  Mull- 
gardt. 

To  the  south  of  the  pool  of  the  fountain — Helios 
— the   great   sun   god   wrestles   with   his    seething 

81 


THE  DREAM  CITY 


Helios   ami    Creation — 7<^oiiiitaiii   of   Esirtli 

82 


ITS  ART,  STORY  AND  SYMBOLISM 

molten  globe  of  creative  fire  and  the  great  serpents 
always  in  the  early  chapters  of  creation  and  reju- 
venation. From  the. fiery  mass  of  the  sun,  the  earth 
is  thrown  off.  In  the  original  plan  these  were  to 
have  been  great  opaque  globes,  lighted  with  many 
electric  bulbs.  The  earth  was  to  have  been  two 
globes,  the  inner  one  stationary  and  bril- 
liantly lighted,  the  outer  one  revolving  about  it, 
giving  the  impression  of  the  solidifying  of  the 
earth's  surface,  while  underneath,  the  play  of  the 
fire  would  have  done  its  part  in  the  making  of  this 
earth  as  the  four  cooling  streams  of  water  do, 
played  upon  it  from  above. 

This  Helios,  the  great,  who  tosses  off  worlds 
from  his  life-giving  arms,  is  not  indifferent  in  re- 
gard to  the  falling  of  his  ejected  worlds.  Looking 
closely,  you'll  see  that  the  earth  has  fallen  from  the 
arms  of  Helios  into  the  great  "Arms  of  Destiny" 
and  keeping  upon  the  western  side  of  the  basin 
you'll  see  the  great  "Hand  of  Destiny"  pointing  the 
way,  and  following  its  direction  the  story  of  the 
world's  people  begins,  and  Aitken  gives  it  in  chap- 
ters of  sculptured  panels.  (In  each  panel  there  are 
five  large  figures.) 

Beginning  at  the  index  finger  of  the  "Hand  of 
Destiny"  you  have  humanity  yet  asleep,  not  alive 

83 


THE  DREAM  CITY 

to  its  duty  or  responsibility.  The  second  figure  is 
easily  recognized  as  the  dawn  of  life  or  the  awaken- 
ing. The  third  is  filled  with  rapturous  joy  in  sim- 
ply being  alive,  and  the  fourth  and  fifth  tell  the 
story  of  love,  and  life, — love's  fruit.  This  completes 
the  first  chapter  in  this  history  of  humanity.  Aitken 
gives  it  to  us  and  he  indicates  the  break  in  tracing 
early  human  history  by  the  gap  interwoven  between 
this  and  the  panel  by  the  globe.  He  then  takes  it  up 
in  the  four  panels  which  surround  the  earth. 

The  central  figure  in  the  panel  facing  that  of 
creation  is  a  large,  beautiful,  vain  woman.  The 
engrossed  gaze  into  the  mirror  tells  the  whole 
story — self  satisfied,  pleased  that  beauty  is  hers, 
nothing  else  matters.  This  time  she  is  left  in  ab- 
sorbed appreciation  of  self  and  the  man  seeking  a 
mate  chooses  the  kind,  loving  maternal  woman  and 
with  their  little  ones  in  their  arms  the  other  ex- 
periences of  life  are  traced  for  us  by  the  sculptor. 

The  different  panels  are  divided  by  a  hermes  half 
human  and  half  post.  Intertwined  with  his  out- 
stretched arms  are  serpents,  signifying  creation  and 
wisdom ;  and  the  crustations,  lower  animal  life.  The 
sculpture  of  these  panels  is  very  free,  almost  en- 
tirely in  the  round,  still  by  their  arms,  draperies 
and    positions    they    are    connected.      It    is    called 

84 


ITS  ART,  STORY  AND  SYMBOLISM 

pierced  sculpture  and  is  used  in  wonderful  effect 
with  the  fire  burning  underneath  the  great  earth 
globe  at  night. 

In  the  next  panel  the  children  of  these  former 
parents  are  called  upon  to  decide  things  for 
themselves.  The  central  figure  is  the  splendid,  in- 
tellectual man,  almost  a  god,  since  there  are  out- 
spread wings  above  his  head,  and  the  two  women 
turn  from  the  gross,  beastly  male  beings  to  this  one 
so  evidently  blessed  with  mind  and  ideals.  The 
two  forsaken  males  play  their  parts  respectively, 
one  sorrowfully  yielding  the  woman  of  his  choice, 
the  other  in  rebellion  would  keep  her  even  if  it 
required  physical  force. 

In  the  next  panel  woman  again  takes  an  un- 
conscious stand  in  human  history.  In  her  beauty 
and  fascination  she  sets  the  male  beings  at  war  with 
each  other  and  they  fight,  even  to  the  giving  up  of 
life  itself  for  the  being  who  pleases  them  beyond  all 
others.  It  brings  out  in  a  sad  way  the  story  of  the 
survival  of  the  fittest,  these  great  fine  beings  are 
in  their  outraged  feelings  willing  to  go  to  any 
length  save  that  of  resigning  their  will. 

The  next  division  of  this  circle  of  human  ex- 
perience is  where  the  elders,  those  who  by  life  have 
lived  and  learned,  would  with  the  knowledge  of 

85 


Panels — Fountain   of   E}arth 

86 


ITS  ART,  STORY  AND  SYMT50LISM 

acquired  wisdom  pass  it  on  in  earnest  advice  to  un- 
willing, inexperienced  youth.  It  meets  with  the 
usual  reception,  and  in  sorrow  the  old  ones  learn 
too  that  nothing  counts  save  personal  failure  in 
this  school  ruled  and  taught  by  one  exacting  heavy 
"school  fees." 

Then  returning  to  the  first  panel  we  come  to  a 
splendid  pair  of  lovers.  These  have  been  inter- 
preted in  various  ways.  It  would  seem  that  after 
all  the  experience  acquired  by  humanity  that  these 
two  might  have  come  out  fired  and  cleansed  and 
ready  to  begin  the  ideal  existence — each  developed 
in  a  high  degree,  ready  to  give  to  life  things  almost 
beyond  the  power  of  any  previous  parents  to  be- 
stow. Anyway  they  are  the  last — it  is  over  for 
them — the  hand  of  Destiny  no  longer  points  the 
way.  The  fingers  have  drawn  themselves  closed 
and  it  gathers  unto  itself  these  sons  and  daugh- 
ters of  a  world  set  living  by  the  same  force  but 
a  few  ages  ago. 

The  first  figure  within  the  clutching  hand's  reach 
is  a  huge,  gross,  beastly  man,  with  all  his  useless 
and  futile  possessions  clasped  in  his  arms,  worth- 
less, a  horrid  mass,  with  no  ray  of  hope.  Filled  with 
regret  over  misspent  years  of  life  he  looks  long- 
ingly upon  earth,  fain  would  he  live  it  again,  he 

87 


THE  DREAM  CITY 

needs  no  advice  now.     He  too  knows  that  only  the 
best  is  worth  while. 

Then  comes  the  old  patriarch.  He  is  fearless. 
He  has  understood  and  lived  to  a  great  purpose. 
The  hope  held  out  by  his  well  spent  life  and  the 
belief  in  immortality  sustains  him  in  the  last  great 
struggle  of  humanity.  So  sure  is  he  of  this  life 
hereafter,  so  near  him  it  approaches  that  he  holds 
out  his  symbol  of  renewed  life  (the  winged  beetle 
or  scareb)  to  the  beautiful,  despairing  woman 
whose  vision  has  failed  to  include  "life  everlasting" 
and  who  shrinks  in  fear  and  grief  at  the  thought 
of  death. 

Then  come  the  two  last  figures  in  this  sculptured 
story  of  human  experience  and  life — "Grief"  and 
"Sleep."  The  woman  in  an  abandon  of  sorrow 
mourns  for  her  lover  and  mate  who  sleeps  at  the 
bidding  of  Destiny,  at  her  feet.  The  whole  gamut 
of  sorrow  is  told  by  these  two  figures — the  human 
heart  filled  with  love.  Strength  given  by  faith 
and  hope  is  not  sufficient  to  assuage  grief  when  it 
comes  to  this  separation.  With  the  promise  of  life 
all  around,  evidenced  in  all  the  phases  of  the  uni- 
verse, still  when  this  hour  comes,  grief  has  it  all  its 
own. 

Whoever  saw  such  a  story-telling  fountain  be- 

88 


ITS  ART,  STORY  AND  SYMBOLISM 

fore?  Where,  within  the  knowledge  of  man,  could 
a  story  have  been  found  which  includes  in  a  greater 
degree  the  whole  experience  of  "Everyman"?  It 
is  all  here,  every  phase  of  it.  Aitken  has  not  soft- 
ened it  for  us,  he  has  made  us  feel  it.  Surrounded 
by  fire  and  water,  elements  in  our  creation,  this 
history  of  mankind  has  been  written  in  wonderful 
pictured  pages.  A  story  we  have  tired  of  listening 
to  in  church  has  been  placed  before  us  in  stone 
by  one  who  feels,  and  by  feeling  knows,  that  this 
is  the  great  lesson  all  must  learn,Uhe  great  thing  to 
be  endured  by  mankind ;  and  here  in  this  Court  of 
the  Ages  by  Mullgardt  it  is  wonderfully  fitting. 

Turning  to  the  tower  we  have  the  story  told  by 
yet  another  sculptor.  Chester  Beach  has  illustrated 
in  an  entirely  different  way  the  development  of  the 
human  family.  The  work  of  Chester  Beach  is 
banked  up  against  the  face  of  the  tower  the  same 
on  both  sides,  in  the  North  Court  of  the  Ages  and 
the  Central  Court  of  the  Ages,  and  is  called  the 
Human  Altar,  the  Rise  of  Civilization,  and  other 
things,  but  a  fine  development  it  truly  is. 

The  first  sculptured  group  is  when  the  human 
family  were  scarcely  above  the  sleek,  crawly  lizards 
and  reptiles  among  whom  they  thrive.  Repulsive 
as  the  reptiles  themselves,  are  the  sodden,  beast-like 

89 


THE  DREAM  CITY 

faces  of  these  early  members  of  the  human  family. 
Always  since  the  time  of  the  Renaissance  the  pyra- 
midal form  has  been  the  accepted  way  of  best 
grouping  figures,  and  the  artist  then  has  the  oppor- 
tunity of  placing  in  the  most  conspicuous  place — the 
apex  of  the  pyramid,  the  great  central  theme  or 
motive  of  his  subject.  In  this  repulsive,  grotesque 
group,  he  has  used  five  principal  figures,  placing 
the  child  in  the  arms  of  its  parent  in  the  highest 
point  of  the  pyramid,  easily  telling  that  the  re- 
production was  the  chief  thing  that  counted  at  this 
beginning.  And  it  reconciles  the  spectator  to  real- 
ize that  there  was  a  great,  necessary  thing  for  these 
people  in  the  "stone-age"  to  bring  about — a  plenti- 
ful reproduction  securing  the  race  against  all  devas- 
tating harms  and  ills. 

The  next  group,  also  a  pyramid  in  form,  is  com- 
posed of  three  powerful  figures.  One  glance  tells 
the  advance  of  reason  has  been  the  subject  here, 
and  dififerent  moods  are  expressed  plainly  in  the 
faces  of  the  three  men.  "Religion,"  with  his 
monk's  dress,  rosary  and  cross,  has  the  stern,  tired 
face  of  the  religious  enthusiast,  and  more — there  is 
evident  strength  and  faith,  sorrow  and  suffering 
have  been  his  full  portion. 

The  next  crouching  figure  is  "Intelligence" ;  he 

90 


ITS  ART,  STORY  AND  SYMBOLISM 

has  the  power  of  maintaining  Hfe  and  the  respon- 
sibiHty  rests  lightly  upon  him ;  he  looks  out  before 
him  keenly  alive  to  all  about  him.  Towering  above 
these  two  figures  standing  in  a  fine  heroic  pose,  is 
the  soldier — every  inch  a  soldier,  too.  He  is  sure  of 
his  power,  happy  in  his  strength,  and  satisfied  with 
his  position.  But  Beach  has  told  us  in  this  pyramid 
with  the  soldier  in  the  highest  place  that  while 
reason  has  come  largely  into  its  own  it  is  not  yet  all 
powerful.  Might — the  sword — yet  rules  supreme, 
and  the  sword  for  many  a  day  will  rule  until  reason 
can  bring  with  it  the  spiritual,  and  the  ideal,  when  it 
will  prevail.  This  is  a  strong  trio,  and  Chester 
Beach  has  embodied  his  development  in  splendid 
form  in  this,  his  sermon  in  stone. 

Placed  upon  niches  on  the  tower  are  two  won- 
derful pieces  of  work — the  evolution  of  the  ideal 
man  and  woman,  by  Weinert.  The  sculptor  has 
followed  the  trend  of  much  of  the  modern  sculp- 
tural handling  in  leaving  these  statues  in  the  rough, 
unhewn  mass.  Michel  Angelo  left  the  statues  for 
the  d'Medici  tombs  this  way,  and  several  modern 
men  have  been  following  along  these  lines  with 
telling  results.  The  faces  and  heads  of  each 
are  free  and  fine  and  strong,  showing  that 
the  intellectual  and  ideal  are  beginning  to  prevail. 

91 


THE  DREAM  CITY 


EJvolution  o£  Woman  and  Man 

92 


ITS  ART,  STORY  AND  SYMBOLISM 

The  woman  is  almost  free  from  all  entangling 
forces  and  with  her  arms  above  her  head  in  position 
to  make  another  great  effort,  it  would  seem  that  she 
might  free  herself  quickly  from  the  bulk  which  still 
holds  her  prisoner.  Her  face  is  so  well  defined 
with  thought  and  prayer  that  the  sculptor  has  left 
no  doubt  of  her  ideals  and  loftiness  of  spirit  being 
uppermost  in  her  experiences. 

The  man  is  as  fine  in  every  way.  He,  too,  is  left 
in  the  embrace  of  the  clay  from  which  he  was 
created,  with  the  additional  suggestion  of  the  prim- 
itive nature  in  him  still  powerfully  gripping  his 
ankle  in  a  last  great  struggle.  The  primitive  is  all 
but  mastered.  The  victor  has  his  head  bent  and  it 
is  only  a  little  while  when  he  will  have  to  fall  away 
with  the  rest  of  the  engulfing  dross  and  leave  this 
fine  specimen  free — free  in  every  way.  It  is  beau- 
tiful, the  way  Weinert  has  suggested  here  that 
woman's  ideals  have  made  this  evolution  easier  for 
her  than  it  has  been  for  her  mate  who  has  had 
beside  the  intellectual  battle  this  other  one — greater, 
perhaps,  because  so  much  of  himself  was  involved — 
this  primitive  nature  to  master  and  control.  But 
the  ideal  will  prevail  here,  too — the  splendid  head 
thrown  back,  the  mind  and  soul  of  the  man  dis- 
played in  his  up-turned  face,  place  him  in  the  rank 

93 


THE  DREAM  CITY 

of  those  Other  inspired  men  of  stone  about  the 
Exposition — "The  Adventurous  Bowman,"  "The 
Rising  Sun,"  and  the  male  figure  in  French's 
"Genius  of  Creation." 

TJirough  the  evolution  of  this  man  and  woman 
we  come  to  the  crowning  figure  in  this  pyramid  of 
a  pyramid  group.  Enthroned  high  up,  near  the 
blue  of  the  sky,  seated  in  quiet,  reposeful  peace  and 
dignity,  is  the  beautiful  figure  symbolic  of  all  that 
humanity  can  attain,  Beach  has  made  this  last 
statement  a  splendid  woman — call  her  the  "Ideal," 
or  what  you  will — she  stands  for  the  best  and  the 
last  of  human  achievement  crowned.  With  two 
little  children  standing  before  her,  one  holding  the 
book  of  wisdom  and  faith,  the  other  the  wheel  of 
progress,  nothing  can  go  wrong  any  more  and  suc- 
cess has  crowned  again  the  superb  efforts  of  pa- 
tient, persistent  mankind. 

On  the  east  and  west  sides  of  the  Tower,  in  an 
arched  niche,  stands  the  fine  male  figure  called 
"'Thought."  He,  too,  is  of  this  group  where  the 
mind  has  struggled  through  ages  to  control  and 
at  last  has  become  victorious  over  the  material. 

It  would  seem  that  almost  in  every  way  possible 
Mullgardt,  Aitken  and  Beach  had  borne  home  the 
truth  of  the  greatness  of  man  and  that  his  mind 

94 


ITS  ART,  STORY  AND  SYMBOLISM 

and  its  attributes  highly  developed  brought  him 
near  perfection.  They  now  resort  to  more  subtle 
means  of  suggestion  and  by  means  seldom  tried 
since  the  fires  of  Apollo  at  the  Delphic  oracle 
aroused  such  awe  and  consternation,  they  bring 
about  these  last  tremendous  effects. 

With  the  lighted  standards  symbolic  of  the 
Sacred  Host  at  two  corners  of  the  fountain,  and 
the  row  of  superb  cocks  surrounding  the  whole 
from  its  sky-line  Mullgardt  has  given  us  the  last 
deftly  suggested  bit  of  symbolism  in  these  birds  of 
the  early  day — and  of  the  Dawn  of  Christianity. 

Surely  now,  it  has  been  proven  that  this  court  is 
one  of  great  thought  and  deep,  pure  sentiment. 
Filled  with  rich  suggestions  in  the  smallest  detail, 
it  transcends  the  superlative  when  taken  as  a  whole. 

With  its  flowers,  its  orange  and  cypress  trees, 
its  beauties  in  color  and  stone,  it  charms  one  by  day ; 
but  at  night,  when  the  great  braziers  are  burning 
their  red  fire  and  the  serpents  are  spitting  their 
flames  into  basins  below,  the  fountain  of  earth  en- 
veloped in  its  bed  of  flame,  with  the  paschal  urn 
lighted  upon  the  altar,  and  the  conventionalized 
standards  burn  out  the  symbolized  Host,  this  court 
becomes  the  holy  of  holies,  the  place  of  prayer  and 
the  heart  is  stirred  to  its  depths. 

95 


THE  DREAM  CITY 


MACHINERY  HALL. 


The  great  Palace  of  Machinery  is  the  largest  of 
all  the  Exposition  exhibit  halls.  It  covers  several 
acres  in  its  floor  space  and  is  the  only  building  on 
the  grounds  built  after  the  old  Roman  basilica.  The 
building  is  made  very  impressive  by  the  great  vesti- 
bule entrance.  The  ceiling  is  splendidly  coffered 
and  the  ornamentation  under  the  great  walled 
arches  is  second  only  to  that  conventionalized  pat- 
tern over  on  the  Fine  Arts.  The  great  portal  is 
magnificent  in  its  height  and  commanding  in  its 
beauty.  The  decoration  and  relief  work  is  all  by 
Haig  Patigian,  a  sculptor  of  San  Francisco,  and  it 
must  be  seen  to  be'  appreciated.  The  work  is  pos- 
sessed of  strength  and  individuality  and  is  suitable 
beyond  measure  to  the  massive  proportions  of  this 
great  building  with  its  broad,  expansive  entrance. 

Haig  Patigian  was  in  Paris  when  he  received 
word  he  was  to  decorate  this  great  building.  To 
one  who  knows,  it  is  evident  that  machinery  is  less 
suggestive  of  things  artistically  beautiful  than 
many  other  enterprises  occupying  human  energy. 
The  success  of  the  undertaking  as  given  by  Mr. 
Patigian    is    in    itself    sufficient    evidence    that    the 

96 


ITS  ART,  STORY  AND  SYMBOLISM 

sculptor  is  a  man  of  unusual  power  and  imagina- 
tion. 

The  sculptor  has  used  great,  muscular  athletes 
as  the  motive  of  decoration,  in  the  relief.  On  the 
drums  of  the  columns  he  has  placed  these  winged 
giants  each  equipped  with  some  mechanical  device 
wherewith  he  is  enabled  to  do  greater  things  than 
his  physical  strength  would  make  possible. 

These  .genii  of  machinery  are  unusual,  fine  and 
convincing  in  the  part  they  play  as  a  decoration  and 
part  of  the  column.  In  these  the  sculptor  has  shown 
superb  skill  in  keeping  the  relief  circular  in  con- 
tour, in  every  case,  and  at  the  same  time  the  vertical 
line  of  the  shaft  holds  its  directness.  The  entire 
conception  is  a  master  stroke.  With  closed  eyes 
telling  of  power  within,  with  wings  to  make  them 
more  mysterious  they  stand  dumb  witnesses  to  the 
beauty  of  the  imaginative  conceptions  of  Haig  Pati- 
gian. 

Up  over  the  arch  is  the  triumph  of  this  suggestion 
used  as  a  spandrel.  Here  the  winged  brow  would 
indicate  quickly  that  they  are  no  ordinary  mechan- 
ics, even  though  blessed  beyond  measure  with 
physical  power  and  strength ;  they  are  gods  of  ma- 
chinery and  with  the  thought  and  skill  of  a  god  and 
the  appliances   contrived  by  the  mind  of  a  god — 

97 


THE  DREAM  CITY 


98 


ITS  ART,  STORY  AND  SYMBOLISM 

the  great,  arduous  labors  of  the  superhuman  which 
machinery  requires  will  be  surely  forthcoming.  If 
nothing  else  should  ever  come  from  the  hand  of 
this  talented  sculptor  through  these  things  he  would 
deserve  to  live. 

At  the  two  ends  of  the  building  and  the  main 
entrance  stand  four  tall  Siena  columns  which  serve 
as  pedestals  for  the  four  great  figures,  factors  in 
the  service  of  machinery.  Steam  Power  is  a  man 
in  heroic  size  with  the  lever  controlled  by  steam 
in  his  hands.  Invention  comes  next,  with  the 
winged  thought  in  his  hand.  Electricity  cannot  be 
mistaken;  he  carries  the  great  electrical  bolt — the 
symbol  of  lightning.  Imagination  and  the  eagle 
of  inspiration  complete  this  series  of  decorative 
motives  used  by  Patigian.  No  building  is  any 
more  suitably  decorated  than  this  great  palace  and 
surely  much  praise  is  due  this  sculptor  who  has  re- 
mained classical  in  his  ideal  and  yet  modernized  it 
until  it  is  in  every  way  fitting  and  appropriate. 


99 


THE  FINE  ARTS  BUILDING  AND 
SURROUNDINGS. 

If  the  Court  of  the  Ages  is  the  cathedral  of  the 
Panama-Pacific  International  Exposition,  the  Pal- 
ace of  the  Fine  Arts  is  the  temple.  In  the  realiza- 
tion of  this  vision  Mr.  Maybeck  from  Berkeley, 
who  is  the  architect,  has  called  into  exist- 
ence one  of  the  most  beautiful  constructions  the 
world  has  ever  seen.  No  one  has  seen  it  who  has 
not  been  moved  to  the  deepest  regret  at  the  loss  it 
will  be  when  it  too  must  find  an  abiding  place  only 
in  pictured  memories.  The  building  is  in  two  parts 
— the  great  steel  and  concrete  fire-proof  arc  of 
eleven  hundred  feet,  containing  one  hundred  and 
twenty-five  rooms,  and  the  glorious  colonnade  of 
verde  antique  and  Siena  columns  which  swing  out 
in  great  circles  north  and  south  from  the  high 
domed  rotunda,  leaving  between,  the  passway 
banked  high  with  McLaren's  fine  shrubs  and  greens 
and  studded  closely  with  exquisite  and  costly  mar- 
ble and  bronze  statuary.  At  no  previous  exposition 
has  it  been  possible  to  place  these  beauties  outside 
the  buildings — but  here  Mr.  Trask  was  quick  to 
grasp     the     idea    of     the     added     richness     which 

101 


THE  DREAM  CITY 

this  would  lend  and  the  colonnade  and  grounds  im- 
mediately surrounding  the  Palace  of  Fine  Arts  is 
thickly  set  with  statuary  which  seems  a  wonderful 
part  of  this  great  place.  Again  it  would 
seem  no  thought  had  escaped  which  would 
have  in  any  way  enhanced  this  temple  of  art. 
The  flower  boxes  of  the  colonnade  are  among  some 
of  the  most  dainty  and  unique  decorations.  The 
draped  women  with  their  circle  of  Greek  tripods 
and  binding  garland  is  seen  at  every  possible  lo- 
cality and  would  well  serve  as  an  incense  altar 
which  they  truly  are  for  the  fragrance  of  many  a 
sweet-scented  shrub  rises  silently  above  them,  en- 
riching all  around. 

The  pergola  breaks  any  sharpness  of  line  that 
might  have  come  from  the  edge  of  the  arc  and  with 
its  flowers  and  vines  softens  into  a  circle  of  dainty 
outline  what  in  most  buildings  is  the  clear,  sharp 
skyline. 

The  high  arched  dome  is  the  part  of  the  building 
which  catches  and  holds  the  eye  as  one  looks  over 
the  ground.  Here  everything  has  been  done  it 
would  seem  to  make  this  a  dignified  and  glorious 
piece  of  work.  All  that  the  creative  power  of  the 
architect  and  the  soul  of  the  artist  could  do  has 
been  done  it  would  seem  and  in  form,  sculpture, 

102 


ITS  ART,  STORY  AND  SYMBOLISM 

relief  and  mural  painting  we  have  one  more  glow- 
ing monument  and  one  more  flaming  tribute 
to  the  master  minds  of  the  Panama-Pacific 
International  Exposition,  and  it  seems  that  here 
these  men  have  had  so  much  to  say  that  even  to 
attempt  an  interpretation  is  beyond  the  power  of 
the  ordinary  mortal. 

The  octagonal  dome  is  decorated  within  and 
without  and  teams  with  truth  and  fantasy  as 
subject  matter.  The  ground  space  serves  as  rest- 
ing place  for  many  things  from  the  hands 
of  American  sculptors,  its  lower  walls  also 
giving  space  for  plaques  and  relief  work.  High 
upon  the  great  columns  in  dignified  and  stately 
silence  is  the  ever  watchful  Priestess  of  Culture  by 
Herbert  Adams.  Above  these  come  the  superbly 
decorative  murals  of  Robert  Reid.  Eight  of  them 
irregular  in  shape,  peculiar  in  size  and  form  have 
come  from  his  hand  glowing  in  broken,  line  and 
rich  color.  Four  of  them  are  devoted  to  the  story 
of  Art  itself.  The  birth  of  European  art  is  symbol- 
ized in  the  first  panel.  There  are  five  dominant  fig- 
ures grouped  about  an  altar  on  which  burns  the  sa- 
cred fire.  An  earthly  messenger  leans  from  his 
chariot  to  receive  in  his  right  hand  from  the  guard- 
ian of  the  flame  the  torch  of  inspiration,  while  with 

103 


THE  DREAM  CITY 

his  left  hand  he  holds  back  his  rearing  steeds.  In 
front  of  these  a  winged  attendant  checks  for  an  in- 
stant their  flight.  The  central  figure,  the  guardian 
of  the  altar,  still  holds  the  torch,  and  below  her  are 
three  satellites,  one  clasping  a  cruse  of  oil,  another 
pouring  oil  upon  the  altar  while  she  holds  in  her 
hand  a  flaming  brand,  ready  to  renew  the  flame 
should  it  falter,  a  third  zealously  watching  the  fire 
as  it  burns.  Opposite  to  these  a  figure  holds  a  crys- 
tal gazing-globe,  in  which  the  future  has  been  re- 
vealed to  her,  but  her  head  is  turned  to  watch  the 
flight  of  the  earthly  messenger. 

The  birth  of  Oriental  Art  is  designated  in  the 
second  panel.  The  forces  of  the  earth  wresting  in- 
spiration from  the  powers  of  the  air  are  pictured  in 
a  contest  between  a  joyous  figure  in  ancient  Chinese 
armour  mounted  upon  a  golden  dragon  combating 
an  eagle  (Legend  of  the  Ming  Dynasty).  The 
dragon  is  victorious  and  wrests  from  the  eagle  the 
gift  of  art.  Had  the  eagle  been  the  victor  the  art 
would  have  remained  in  the  domain  of  the  air.  See 
the  similarity  of  the  story  of  the  birth  of  European 
and  Oriental  art.  A  female  figure  under  a  huge 
umbrella  represents  Japan,  one  of  the  heritors  of 
the  victory  of  Earth  over  Air,  while  on  either  side 

104 


ITS  ART,  STORY  AND  SYMBOLISM 

are  two  other  Oriental  figures  in  gorgeous  attire, 
symbolic  of  the  long  periods  of  Oriental  art. 

The  third  panel  represents  the  Ideals  in  Art. 
There  are  seven  figures,  the  Greek  ideal  of  beauty 
dominating  all  in  a  classic  nude.  Below  this  Re- 
ligion is  portrayed  in  a  Madonna  and  Child.  Hero- 
ism is  shown  in  Jeanne  d'Arc,  mounted  on  a  war- 
horse  and  flinging  abroad  her  victorious  pennant. 
A  young  girl  represents  youth  and  material  beauty, 
while  at  her  side  a  flaunting  peacock  stands  for 
absolute  nature,  without  ideal  or  inspiration.  A 
mystic  figure  in  the  background  holds  the  cruse  of 
oil.  Over  all  of  them  floats  a  winged  figure  hold- 
ing a  laurel  wreath  for  the  victorious  living,  while 
a  shadowy  figure  in  the  foreground  holds  a  palm 
for  the  dead. 

The  fourth  panel  represents  the  inspirations  of 
all  art,  five  figures  symbolizing  Music,  Painting, 
Architecture,  Poetry  and  Sculpture.  Flying  above 
these  are  two  winged  figures,  one  holding  a  torch 
flaming  with  the  sacred  oil  that  has  been  brought 
from  the  altar,  the  other  drawing  back  the  veil  of 
darkness,  revealing  the  tangible,  visible  expression 
of  Art  to  mortal  eyes. 

The  four  single  panels  symbolize  the  four  golds 

105 


THE  DREAM  CITY 

of  California —  the  poppies,  the  citrus  fruits,  the 
metalHc  gold  and  the  golden  wheat. 

The  entire  scheme — the  conception  and  birth  of 
Art,  its  commitment  to  the  earth,  its  progress  and 
acceptance  by  the  human  intellect — is  expressed  in 
the  four  major  panels.  They  are  lighted  from  be- 
low by  a  brilliant  flood  of  golden  light,  the  sunshine 
of  California,  and  reach  up  into  the  intense  blue  of 
the  California  skies. 

The  panels  in  relief  decorating  the  outside  of  the 
dome  of  the  rotunda  are  by  Bruno  Zimm  of  New 
York.  They  are  to  the  Unattainable  in  Art  and 
tell  of  the  ceaseless  effort  of  man's  striving  to  bring 
to  perfection  these  things  which  long  for  utterance 
yet  eternally  fall  below  the  desire  of  their  creator 
when  given  form.  Art  is  represented  in  one  panel 
with  those  who  serve  her  either  as  idealists  or 
realists.  All  the  arts  are  given  a  panel  in  this  work 
of  Zimm — Drama,  Poetry,  Painting,  Sculpture  and 
Architecture. 

The  flower  boxes  with  the  women  at  the  corners 
would  have  been  softened  and  entirely  understood 
if  the  flowers  might  have  been  placed  within  these 
receptacles.  Then  the  women's  heads  would  have 
been  enveloped  in  the  flowers  and  they  would  have 

106 


ITS  ART,  STORY  AND  SYMBOLISM 

plainly    spoken    of    introspection — the    thing    they 
symbolize. 

Lentelli's  beautiful  Aspiration  reaches  up  and  al- 
ways up  before  the  door  at  the  entrance  to  the  gal- 
lery, and  again  seems  to  carry  on  the  thought  sug- 
gested by  Reid's  two  panels  of  the  birth  of  Oriental 
and  European  art,  that  all  art  comes  to  man  from 
above  and  when  man  gives  expression  to  these 
things  it  is  from  the  heights  and  the  depths  that 
he  finds  his  inspiration. 

Outside  the  rotunda,  visible  from  the  distance  to 
the  east  is  the  little  kneeling  figure  "The  Devotee" 
by  Stackpole.  She  worships  and  prays.  Always 
the  unattainable  serves  to  incite  greater  struggle 
and  the  thing  once  expressed  falling  below  the  ideal 
adds  to  the  desire  for  more  and  more  inspiration. 
No  human  group  needs  this  more  than  these  sensi- 
tive, far-seeing  artistic  mortals  who  worship  at  this 
shrine  and  here  is  the  finishing  touch  for  our  tem- 
ple— not  only  the  place  in  which  to  pray  but  the 
faithful  little  maiden  who  in  her  inspired  purity  in- 
tercedes  constantly  for  guidance  and  light. 


107 


108 


•<i>- 


'^l ?;^  \^ 


•,    ^\*?     ••j" 


it  .^ 


>^ 


4  h 


THE  DREAM  CITY 


ENTRANCE  TO  THE  FINE  ARTS. 

Entering  the  Fine  Arts  by  the  main  door  one 
faces  a  large  circular  gallery  in  which  many  beau- 
tiful things   hold  the  eye  of  the  visitor. 

Hanging  upon  the  walls  are  four  of  the  Corio- 
lanus  series  of  Gobelin  tapestries  belonging  to  Mrs. 
Phoebe  Hearst.  They  enrich  to  an  untold  degree 
the  great  wall  space  of  this  high-ceilinged  gallery. 
Few  of  the  people  who  come  into  the  room  appreci- 
ate the  beauty  and  worth  of  these  treasured  tapes- 
tries. The  Coriolanus  series  is  of  the  very  best 
period  of  tapestry  weaving  and  the  set  of  four  is 
valued  at  $250,000. 

To  study  the  marble  and  bronze  in  the  room  is 
to  become  acquainted  with  the  works  of  a  goodly 
number  of  America's  best  sculptors. 

Mrs.  Gertrude  Vanderbilt-Whitney's  fountain 
group  occupies  the  center  of  the  gallery ;  surround- 
ing this  come  things  from  the  hands  of  Herbert 
Adams,  Grafly,  Bitter,  French,  Bela  Pratt,  Annetta 
Saint-Gaudens,  Calder,  Roth,  Haig  Patigian,  Mora, 
Eraser  and  others. 

V.  Breuner  has  a  beautiful  group,  "Nature,  the 
Consoler."  (No.  3131).  Piccirilli's  statue  called 
"The  Soul"  (No.  3132)  is  near  it,  with  fine  feeling. 

110 


ITS  ART,  STORY  AND  SYMBOLISM 

Over  a  little  further  comes  a  beautiful  "Vanity" 
(No.  3133)  by  Haig  Patigian.  She  has  an  uncon- 
scious air  about  her  as  she  gazes  at  her  pretty  face 
in  the  pool,  and  she  wins  the  admiration  of  many 
who  stop  to  enjoy  the  charm  in  her  marble  face. 

James  E.  Eraser's  portraits  of  children  are 
charming.  The  relief,  Flora  and  Sonny  Whitney, 
is  fascinating,  and  reminds  one  of  some  of  St. 
Gauden's  irrisistible  children  (No.  3105). 

Herbert  Adams'  "Bacchante"  (No.  3088)  is  a 
splendid  head;  her  dignified  beauty  would  be  as 
charming  if  called  by  another  name. 

Bela  Pratt's  "River  Nymph"  (No.  3090)  is 
graceful;  but  the  portrait  bust  of  his  mother  (No. 
3126)  is  full  of  the  fine  things  these  artists  all  put 
into  the  likenesses  of  their  mothers. 

Cyrus  Edwin  Dallin  has  some  delightful  children, 
and  Amanda  Austin  charms  with  her  youthful  Saint 
John  (No.  3102), 

Aitken  has  an  impressive  and  beautiful  "Grief" 
that  tells  the  whole  story  of  the  time  when  the 
human  heart  gives  up  to  an  overwhelming  sorrow. 

French's  Alice  Freeman-Palmer  Memorial  (No. 
3125)  is  full  of  feeling,  and  is  appropriate  to  an 
unusual  degree.  This  is  from  the  chapel  at  Wel- 
lesley  where  Mrs.  Palmer  was  president  for  years. 
The  great,  glorious  figure,  Wisdom,  directing  the 

111 


THE  DREAM  CITY 

maiden  toward  the  goal  of  knowledge,  is  superb. 
This  is  loaned  by  French. 

A.  Stirling  Calder  has  (No.  3120)  an  "American 
Stoic"  and  a  fine  seated  figure  of  a  woman  as  "His- 
torian" (No.  3103).  Calder  has  had  much  to  do 
with  the  sculpture  during  the  building  process  and 
has  been  spoken  of  among  the  men  who  have  aided 
in  other  ways  these  Panama-Pacific  plans. 

The  late  Karl  Bitter,  the  chief  of  the  Department 
of  Sculpture,  is  represented  by  three  groups  in 
bronze:  The  memorial  of  Dr.  Tappan  (No.  31 14), 
a  fine  portrait  in  relief  of  Dr.  Tappan  with  his 
dog;  a  pleasing  and  graceful  goose  girl,  which 
forms,  with  her  geese,  a  pretty  bronze  fountain 
(No.  3134),  is  loaned  by  J.  D.  Rockefeller.  The 
most  imposing  example  of  Bitter's  work  is  "Sign- 
ing the  Louisiana  Purchase  Treaty"  (No.  3094). 

Karl  Bitter  was  born  in  Austria.  He  came  to 
America  a  young  man.  Having  shown  great  talent 
and  having  given  proof  of  his  genius,  he  was  as- 
signed a  large  share  of  the  work  in  Chicago  in 
1893.  Many  will  recall  his  decorations  upon  the 
Administration  and  Liberal  Arts  buildings.  Hav- 
ing made  such  a  success  of  his  work  in  Chicago 
he  was  given  a  prominent  place  at  St.  Louis,  and 
full  charge  at  the  Pan-American  in  Bufifalo,  where 
by  the  plan  submitted  he  stirred  his  board  to 
112 


113 


THE  DREAM  CITY 

raise  the  appropriation  from  $30,000  to  $200,000 
for  sculptural  decoration.  With  all  this  experience 
back  of  him  he  was  made  chief  of  sculpture  for  the 
Panama-Pacific. 

Bitter,  like  every  other  man  who  achieves,  had 
very  decided  views  about  the  manner  of  carrying  on 
a  great  work.  His  ideals  and  his  excellence  brought 
many  opportunities  to  show  his  taste  and  skill  in 
his  work.  George  Vanderbilt's  splendid  home — 
Biltmore,  North  Carolina,  is  one  of  the  places  en- 
riched by  Bitter's  workmanship.  He  made  the 
great  organ-breast,  forty-five  feet  in  length,  for  the 
banquet  hall.  The  frieze  is  done  in  English  oak, 
and  represents  the  "Contest  of  the  Minstrels."  In 
the  same  hall,  over  the  fireplace,  is  a  frieze,  thirty 
feet  in  length,  done  in  stone,  called  the  "Return 
from  the  Chase." 

It  was  a  firm  belief  with  Bitter  that  sculpture 
should  express  the  highest  ideals  of  personal  and 
national  life,  and  that  an  artist  to  do  anything 
worthy  in  sculpture  or  painting  should  first  be  a 
man. 

His  recent  death  proved  him  to  have  been  a  man 
in  the  highest  degree,  for  it  was  in  trying  to  save  his 
wife  from  accident  that  he  was  killed.  Nothing 
greater  remains  possible  to  man — nothing  beyond 
giving  his  life  for  a  friend. 
114 


ITS  ART^  STORY  AND  SYMBOLISM 


JAPANESE  SECTION. 

Rooms  I  to  lo  are  occupied  by  the  Japanese  ex- 
hibition, and  it  is  one  of  the  finest  the  Japanese  have 
ever  sent  out  of  their  land.  In  order  that  we  may 
understand  this  art  one  must  know  something  of 
the  philosophy  back  of  it.  The  Japanese  believe 
that  an  exact  reproduction  of  anything  eliminates 
the  divine.  Consequently  they  only  suggest  and 
leave  exact  representation  out  altogether.  The  col- 
lection consists  of  a  varied  collection  of  wood  and 
ivory  carving,  porcelain,  prints  and  some  wonder- 
fully realistic  pictures  done  in  embroidery.  The 
work  done  by  the  Japanese  as  influenced  by  Occi- 
dental art  is  not  nearly  so  attractive. 

Oil  Paintings — Japanese  Section. 

Silver  Medals — Takeji  Fujishima,  Ikuno-suke 
Shirataki,  Eisaku  Wada. 

Bronze  Medals — Giuseppe  Guatalia,  Giokawa, 
Hiromitsu  Nakazawa,  Kijiro  Ota,  Hisashi  Tsuji. 

Honorable  Mention — Gentaro  Koito. 

Water  Color  Painting. 
Medals  of'  Honor — Ranshu   Dan,  Toho   Hirose, 
Shoyen  Ikeda,  Keisui  Ito,  Tomoto  Kobori. 

115 


THE  DREAM  CITY 

Gold  Medals — Bunto  Hayashi,  Taissi  Minakami, 
Yoshino  Morimura,  Hachiro  Nakagawa,  Hosiii 
Okamoto,  Tesshu  Okajima,  Kangei  Takakura. 

Silver  Medals — Shodo  Hirata,  Kashu  Kikuchi, 
Banri  Mitsui,  Hoko  Murakemi,  Toyen  Oka,  Sesso 
Okada,  Ban j  oh  Shibata,  Shunki  Taniaya,  Teiun 
Toshima,  Kogyo  Tsukioka. 

Bronze  Medals — Naohiko  Aida,  Banka  Maru- 
yama,  Katsumi  Miyake,  Oshu  Nishi. 

Color  Prints. 

Bronze  Medals — Shiro  Makina,  Yoshida  Yetsii- 
tara. 

Sculpture. 

Gold  Medals — Yamazaki  Chaun,  Yoshida  Homei. 

Silver  Medals — Ando  Bakuko,  Yasuda  Bun- 
shan,  Matsuo  Choshun,  Tomioka  Hodo,  Numata 
Ichiga,  Tsuda  Nobuo  (collaborative)  ;  Watanabe 
Osao. 

Bronze  Medals — Sano  Mitzuakasa,  Kawanishi 
Shirin,  Nogami  Tatsuoki. 

Honorable  Mentions^Tashima  Ikka,  Ametani 
Sadajiro,  Kitamura  Seibo,  Hata  Shokichi. 

Medals. 
Bronze  Medal — Hosaka  Kozan. 

116 


ITS  ART,  STORY  AND  SYMBOLISM 

Metal  Work. 
Grand  Prize — Chozaburo  Yamada. 
Gold  Medal — Ishiyu  Miyachi. 
Silver  Medal — Mitsunaga  Toyokawa. 
Bronze  Medals — Masachika  Ota,  Masatada  Ota. 

Lacquer. 

Medal  of  Honor — Jitoku  Akazuka  (K.  Hayashi, 
exhibitor). 

Gold  Medals — Kozen  Kato  (K.  Hayashi,  exhib- 
itor), Hikobei  Nishimura,  Mesanori  Ogaki. 

Silver  Medals — Daijiro  Inouye  (S.  Nakamura, 
exhibitor),  Takayasu  Sasaki,  Kofu  Tojima  (J.  Mi- 
kami,  exhibitor),  Shoka  Tsujimura. 

Bronze  Medals — Tamaro  Iwataki  (S.  Kakamiira, 
exhibitor),  Hideo  Kimura. 

Wood,  Bamboo  and  Other  Media. 
Silver  Medals — Shinjiro  Matsukano,  Cho  Yui. 
Bronze  Medal — Tatsukichi  Fujii. 

Pottery,  Porcelain  and  Cloisonne. 

Grand  Prize — Kozan  Miyakawa. 

Medals  of  Honor — Sosuke  Namikawa,  Yohei 
Seifu  (Rihei  Hiraoka,  exhibitor). 

Gold  Medals — -Eizaemon  Fukagawa,  Yoshitaro 
Hayakawa    (Jnji  Ando,   exhibitor),   Hazan   Itaya, 

117 


THE  DREAM  CITY 

Tomotaro  Kato,  Shibataro  Kawado  (Jubei  Ando, 
exhibitor),  Sobei  Kinkozn  Meizan  Yabu. 

Silver  Medals — Tozen  Ito,  Shuto  Naka  mura, 
Rokubei  Shimizu. 

Bronze  Medal — Tokumatsu  Takashima. 

Dyed  Fabrics  and  Embroideries. 

Grand  Prize — Jinbel  Kawashima. 

Medal  of  Honor — Seizaburo  Kajimoto  (Sinichi 
lida,  exhibitor). 

Gold  Medals — Chokurei  Hamamura  (S.  Nishi- 
mura,  exhibitor),  Yozo  Nagara  and  Kiyoshi  Hashio 
(Sozaemon  Nichimura,  exhibitor),  Goun  Namika- 
wa  and  Torakichi  Narita  (Rihichi  Tanaka,  exhib- 
itor), Salji  Kobayashi  (S.  Nichimura,  exhibitor). 

Silver  Medals — Senri  Ichiki  and  Yonezo  Kidani 
(R.  Tenaka,  exhibitor),  Takezo  Ogawa  (Shinchi 
lida,  exhibitor),  Roko  Sakakibara  and  Matsukichi 
Asada  (Shinichi  lida,  exhibitor). 

Bronze  Medal — Gizo  Shibata  (Shinichi  lida,  ex- 
hibitor). 

Honorable  Mention — Seifu  Tsuda. 

Design. 
Silver  Medal — Seiichiro  Sawada. 
Bronze  Medals — Koho  Goto,  Sadakichi  Junicho. 
Honorable  Mentions — Takezo  Hayshi,  Motokichi 
Terada,  Kojiro  Ibuki. 

118 


ITS  ART,  STORY  AND  SYMBOLISM 


FRENCH    SECTION. 

The  French  pictures  in  the  Fine  Arts  date  pre- 
sumably from  1871  on,  making  them  all  modern. 
They  are  from  the  hands  of  men  who  have  served 
more  or  less  as  teachers  of  the  younger  American 
students.  The  French  art  is  not  in  the  competition 
for  honors,  it  has  never  been  at  any  of  the  Ameri- 
can expositions.  Whether  they  feel  that  an  award 
coming  from  the  United  States  means  too  little  or 
not  is  impossible  to  say,  the  fact  remains,  however, 
that  they  have  never  allowed  themselves  to  compete 
in  any  way. 

Gallery  i  has  two  large  canvases  on  the  north 
wall  of  Lucien  Simon  (Nos.  495,  494).  Nos.  235, 
236,  are  on  the  west  wall,  portraits  by  Aman  Jean, 
a  man  who  has  taught  American  students.  Marcel 
Clement's  landscape  (429)  near  by  is  pleasing.  N0.5. 
349,  459  and  355  are  all  interesting  canvases. 
Domerque's  (No.  324)  large  canvas  on  the  south 
wall  and  Maury's  (No.  440)  nude  figures — all  the 
same  girl — on  the  north  are  notable. 

Gallery  2  contains  the  two  interesting  canvases 
of  Henri  Martin's  work  on  the  north  wall,  showing 
the    delightful    vibration    secured   by    adhering   to 

119 


THE  DREAM  CITY 

Monet's  theory.  The  east  wall  (419)  is  a  delight- 
ful little  picture  by  Sidaner,  with  more  impression- 
istic lightness ;  above  it  hangs  quite  a  sane  sea  by 
Matisse  (438).  A  poor  example  of  Besnard  (254) 
hangs  upon  the  north  wall.  This  man  is  the  head  of 
the  school  at  the  Palace  of  Farnese  in  Rome  and  is 
considered  the  best  living  exponent  of  modern 
French  painting.  He  is  a  master  of  light  effects, 
with  striking,  brilliant  color,  not  often  extreme,  but 
one  must  be  told  it,  if  they  would  know  it.  A  fair 
estimate  being  impossible  from  this  picture. 

Gallery  3  has  several  famous  names  to  demon- 
strate, most  of  them  carrying  disappointment. 
Maurice  Denis,  a  decorator  coming  along  in  the 
wake  of  Chavannes,  is  given  a  prominent  place. 
Monet's  (432)  picture  is  the  same  as  one  hanging 
in  the  American  loan.  Degas  has  an  uninteresting 
cafe  picture  (310)  in  greens  and  reddish  browns 
on  the  west  wall.  It  is  unfortunate  to  have  one 
picture  from  men  of  his  reputation.  The  name 
Degas  is  a  synonym  for  the  mastery  of  line,  and  his 
loose  drawing  today  has  its  foundation  in  stern  dis- 
cipline ;  he  is  also  interested  in  problems  of  light. 
Redon  is  another  versatile  Frenchman  whom  we 
could  never  place  by  the  work  shown.  He  is  a 
romanticist  in  the  extreme,  exceeds  nature  in  what 

120 


ITS  ART,  STORY  AND  SYMBOLISM 

he  does,  and  has  a  strong  feeUng  for  line  and  color. 
His  picture  (475)  on  the  north  wall  is  an  attractive 
flower  piece,  not  the  type  of  picture  his  reputation 
demands. 

Gallery  4  has  some  pictures  by  less  known  men 
Caro  Delvaille's  picture  on  the  east  wall  (279)  is 
good. 

Gallery  5.  Paul  Buffet's  landscape  (274)  on  the 
east  wall  is  a  familiar  one  to  Californians,  with  its 
brown  hills,  bluish  trees  and  yellowish  sky.  Jules 
Grun's  little  girl  drinking  (366)  is  a  joy,  with  good 
color  and  a  pretty  scheme.  Roll's  ghastly  Belgian 
Women  (483,  484)  painted  since  the  Jason  sailed 
are  grewsome  bits  of  realism. 

The  south  wall  contains  Roll's  Rearing  Horses 
(482).  All  the  sculpture  in  the  French  room  is  in- 
teresting, and  the  most  of  the  pieces  in  gallery  5  are 
portraits :  673  is  Bonnat,  675  is  Harpignies,  both 
celebrated  painters  by  Legoffin ;  661  is  Renoir,  by 
Paulin;  659  is  the  painter  Guillamun  by  the  same 
sculptor. 

The  north  wall  has  a  good  portrait  of  Bonnat 
(336)  and  an  interesting  portrait  painted  by  Rolls. 

Gallery  6  has  some  delightful  work  from  the 
hands  of  the  men  swayed  by  Impressionism.  The 
east  wall  has  a  picture  by  Sidaner. 

121 


THE  DREAM  CITY 


THE   ITALIAN    SECTION. 


Galleries  21,  22,  23,  24,  25  are  given  over  to  the 
Italian  pictures.  These  are  entirely  from  the  hands 
of  the  modern  men.  Gallery  21  contains  some  of 
the  best  pictures ;  Ettore  Tito  was  given  the  "Grand 
Prix" ;  his  pictures  are  all  on  one  wall,  numbering 
from  103  to  107.  Tito  is  Venetian  and  is  pleasing 
in  color,  and  popular  to  a  degree  without  being 
inane.  He  has  a  fine,  general  apprehension,  and  is 
delightfully  happy  in  his  choice  of  material  for  sub- 
ject matter.  Camillo  Innocenti,  numbering  from 
56  to  59,  is  another  interesting  painter.  He  plays 
with  light  and  uses  his  paint  in  a  way  strongly 
suggestive  of  Monet.  This  man  has  been  awarded 
a  medal  of  honor.  Quorate  Carlandi,  numbering 
from  15  to  18,  is  a  strong  man  with  a  noticeable 
individuality;  he  is  accomplished  in  technique,  free 
and  sensitive  in  all  that  he  does.  Carlandi  too  has 
a  medal  of  honor.  Bazzaro  gives  a  playful  and 
colorful  picture  in  his  on  "The  Diving  Board" ;  full 
of  sun  and  shadow  he  has  made  the  best  of  the  situ- 
ation to  bring  into  play  his  delight  in  working  with 
this  phase  of  light.  Bazzaro  received  a  gold  medal. 
The  other  man  with  several  pictures  hanging  here 

122 


ITS  ART,  STORY  AND  SYMBOLISM 

is  likewise  worthy  of  a  medal.  The  Italians  con- 
sider him  among  their  most  original  and  inde- 
pendent painters  and  his  work  is  truly  pleasing. 
Casciaro  lends  delight  to  this  medal  room  and  his 
pictures  make  for  themselves  a  place  in  the  mind 
of  the  visitor;  they  number  from  22  to  2;  two  of 
them  hang  in  gallery  25. 

Room  22  contains  much  of  interest.  Ferraguiti's 
Portrait  in  Red  is  one  which  received  a  gold  medal. 
It  is  a  compelling  picture,  the  charm  is  there 
whether  one  wills  or  not,  and  its  subtleness  is  de- 
lightful. Morbelli's  picture  called  Sunset  Across 
the  Lagoon  (No.  78)  is  fascinating  because  of  the 
way  it  has  been  painted.  It  is  done  in  a  manner 
suggested  by  Monet.  Mancini's  three  pictures  (66, 
6"],  68)  are  all  interesting.  Parisani's  Alban  Lake 
(No.  85)  is  interesting.  Francisco  Gioli  is  consid- 
ered by  the  Italians  as  among  their  very  best  in  a 
sparkling  category  of  painters.  Florentine  Har- 
monies (No.  53)  is  the  only  example  of  his  work 
here.  Festa  Piacentini  is  one  of  the  silver  medal 
men;  his  picture  (No.  49)  hangs  in  this  room.  The 
Italians  would  probably  call  Noci  the  greatest 
man  in  this  room.  He  is  a  big  man  among  the 
Roman  painters.  He  is  versatile,  painting  with 
equal  skill  in  all  media.     He  paints  imaginary  fig- 

123 


THE  DREAM  CITY 

ures,  portrait,  and  landscape  all  in  a  manner  highly 
pleasing  to  the  Italians.  Nos.  80  and  81  are  his 
pictures. 

Gallery  23  is  devoted  almost  entirely  to  Italian 
sculpture.  The  Kiss  (156)  by  Vedani  is  pleasing. 
Dazzi's  portrait  (No.  123)  is  good,  Graziosi's 
Susanna  (No.  131)  received  a  gold  medal,  as  did 
Pogliani's  On  the  Beach  (146). 

Gallery  24  contains  some  more  men  who  are 
leaders  among  the  vigorous  independents.  Nomel- 
lini  (82,  83)  is  delighted  to  paint  sunlight  with  its 
spots  and  shadows.  Lionne  is  perhaps  the  most 
violent  colorist  represented  in  Nos.  62,  63.  Chiesa's 
Annunciation  (26)  and  Autumn  (27)  are  interest- 
ing in  their  handling.  Paolo  Sala  is  president  of 
the  Lombard  Water  Color  Society.  He  is  consid- 
ered great  in  the  Art  of  Modern  Italy.  His  pic- 
ture (No.  96)  is  charming  in  tone  and  color,  and 
he  surely  is  at  his  best  in  handling  the  sea.  Corsi's 
Perhaps  (No.  35)  is  a  good  picture. 

Gallery  25  has  a  number  of  gold  medalists  in  it. 
The  Ciarde  pictures  all  hang  together  (Nos.  29,  30, 
31,  32).  They  are  by  three  Ciardi  painters — Beppe, 
Emma  and  Guglielmo.  Scatolli's  Daybreak  in 
Venice  (99)  is  charming.  Mentissi's  Soul  of  the 
Stones  (71)  is  strong  and  well  done.     Fragiacomo 

124 


ITS  ART,  STORY  AND  SYMBOLISM 

has  a  delightful  little  picture  called  Bit  of  Sunlight 
(No.  49). 

Oil  Paintings — Italian  Section. 
Grand  Prize — Ettore  Tito. 

Medals  of  Honor — Onorato  Carlandi,  Camillo 
Innocenti. 

Gold  Medals — Leonardo  Bazzaro,  Italo  Brass, 
Emma  Ciardi,  Guglielmo  Ciardi,  Guiseppe  Ciardi, 
Umberto  Coromaldi,  Visconti  Ferraguti,  Dominico 
Trolli,  Enrico  Lienne,  Giuseppe  Mentessi,  Plinio 
Nomellini,  Feruccio  Scattola. 

Silver  Medals — Giorgio  Belloni,  Agostino  Bosia, 
Agostino  Busi,  Pietro  Chiesa,  Carlo  Corsi,  Arturo 
Noci,  Matilde  Piacentini,  Carlo  Rho,  Edgardo 
Sambo. 

Sculpture. 

Gold  Medals — Luigi  Amigoni,  Rensto  Brozzi, 
Arturo  Dazzi,  Giuseppe  Graziosi,  Antionetta  Pag- 
liani. 

Silver  Medals — Ermenezildo  Luppi,  Raffaele 
Romanelli,  Angelo  Del  Santo. 

Bronze  Medals — Guiseppe  Guatalla,  Giovanni 
Prini,  Michelo  Vedani. 

Honorable  Mentions — Ercole  Drei,  Antonio  Ma- 
raini,  Attilio  Selva. 

125 


THE  DREAM  CITY 


CUBAN   SECTION. 

Gallery  20  contains  the  Cuban  Section.  Has 
some  pictures  which  interest.  Some  of  the  work 
seems  decidedly  clear,  and  to  be  influenced  by  the 
atmosphere  of  the  central  part  of  the  world. 

Oil  Painting — Cuban  Section. 

Medal  of  Honor — Leopoldo  Romanach. 

Gold  Medal — Rodriquez  Morey. 

Silver  Medals — Maria  Mantilla,  Armando 
Menocal. 

Bronze  Medals — Aurelio  Melero,  E.  Valerama. 

Honorable  Mentions — Margarita  de  Aragon, 
C.  de  Vildosola. 

Gallery  19  contains  the  pictures  from  Uruguay. 
Many  of  these  possess  strong  color  and  impress  the 
visitor  with  the  love  of  color  inherent  in  the  South 
Americans. 

Oil  Painting — Uruguay  Section. 
Gold  Medal— Manuel  Rose. 
126 


ITS  ART,  STORY  AND  SYMBOLISM 

Silver    Medals — C.    de    Arzadun,    Mile    Beretta, 
Carlos  Castellano,  Jose  Cuneo,  Domingo  Puig. 
Bronze  Medals — Martinez  Vasquez. 

Sculpture. 

Silver  Medal — Jose  Belloni. 
Bronze  Medal — Juan  B.  Pagani. 
Honorable  Mention — Juan  Ferrari. 


127 


THE  DREAM  CITY 


French  Art  in  French  Building  and  Fine  Arts. 

In  rooms  92  and  62  hang-  all  the  French  pictures 
of  the  American  Loan ;  there  are  some  interesting 
ones  to  study;  those  representing  the  Barbizon 
school  are  Corot,  room  92,  wall  B,  Nos.  4025,  4029. 
There  are  two  of  Rousseau's  on  wall  C,  Nos.  4037, 
4036.  Van  Marcke,  No,  4042,  wall  D,  Tissot's  large 
"Reception"  hangs  on  this  wall  and  two  of  Mon- 
ticelli's  pictures,  one  of  them  wonderfully  rich  in 
shade  and  color.  Cazin  has  a  beautiful  picture  of 
the  "Repentant  Peter"  on  wall  C,  also  a  large  one 
called  "The  Retreat"  in  room  62.  Cazin  lived  from 
1841  to  1901.  He  studied  art  In  France,  Holland, 
Italy  and  England.  His  pictures  are  peculiar  in 
that  one  tone  predominates.  The  "Repenant  Peter" 
is  a  beautiful  green,  it  is  early  morning,  it  is  easy 
to  feel  the  situation  as  the  artist  wishes  it  inter- 
preted ;  with  the  "crowing  of  the  cock"  the  words 
of  the  Christ  rushed  in  upon  the  miserable  man  and 
he  realizes  that  he  has  proven  false  even  as  Christ 
foretold,  then  in  sorrow  and  shame  he  goes  out. 
The  painter  leaves  him  with  awakened  conscience 
here  in  the  garden,  and  the  picture  is  full  of  feel- 
ing and  a  spirit  of  silent  sorrow  seems  to  pervade 

128 


ITS  ART,  STORY  AND  SYMBOLISM 

the  whole  scene  as  one  contemplates  the  painting. 
"The  Retreat"  will  not  appeal  so  generally  to  the 
public;  but  it  breathes  of  prayer  and  spirituality. 
The  whole  character  of  this  picture  is  brown,  soft 
in  tone,  but  prevailing  all  through.  In  the  French 
building  on  either  side  of  the  door  of  the  main 
entrance  Cazin  has  two  pictures,  beautiful  in  tone 
and  character,  a  purplish  gray  holds  forth  here  but 
it  is  easy  to  see  the  man  always  has  a  color  scheme 
in  mind  in  his  painting.  The  son  of  Cazin  is  an 
etcher,  his  wife  is  a  sculptress  and  has  a  bust  of  her 
husband.  No.  624,  in  the  French  Section  of  the 
Fine  xA.rts. 

Room  62  has  a  Alillet,  No.  2842;  it  is  not  of  the 
usual  character  of  his  work  but  of  his  early  nudes. 
Fortuny  has  one,  No.  2853.  Diaz  has  2856.  Troyon 
has  a  beautiful  example  here  of  his  cattle  in  the 
cool,  green  shade.  No.  2854.  Lepine  has  two,  Nos. 
2852  and  2855.  Dagnan-Bouvert's  "Consolatrix 
Afflictorum"  is  an  interesting  picture  with  wonder- 
ful green  lights  shading  from  dense  heaviness  to 
a  yellowish  haze.  There  seems  to  be  a  world  of 
mystery  and  symbolism  in  the  picture.  The  deer 
indicates  solitude,  the  grapes  and  the  vine,  fruitful- 
ness,  the  birds,  spirituality,  and  the  whole  scene 
is  given  over  to  adoration  in  one  phase  or  another. 

129 


THE  DREAM  CITY 

His  works  are  classics.  He  has  trained  to  the  full 
extent  of  academic  experience,  is  fond  of  the  out- 
door work  and  loves  the  simple  people.  He  is  also 
represented  in  the  French  Building. 

Two  interesting  pictures  on  this  same  wall  in 
room  62,  Fine  Arts,  are  by  Lenbach,  the  Munich 
master.  One  is  an  early  self-portrait,  the  other  is 
a  superb  likeness  of  Momson,  the  great  historian. 

A  picture  of  Meissonier — very  unusual  in  char- 
acter hangs  in  room  92,  wall  A.  One  much  more 
characteristic  hangs  in  the  French  Building.  It  is 
wonderfully  handled  as  to  detail ;  there  is  also  a 
little  sketch  near  by.  Meissonier  was  the  first  presi- 
dent of  the  new  Salon. 

A  good  example  of  Manet  hangs  in  the  French 
Building — a  picture  the  American  Loan  sadly  lacks 
since  they  have  nothing  of  the  first  leader  of  the 
Impressionists.  His  picture  "On  the  Balcony"  is 
interesting  because  of  the  contemporaneous  por- 
traits ;  Eva  Gonzales,  the  woman  seated  there,  being 
an  artist  of  note. 

Boudin  is  represented  both  in  Fine  Arts,  room  62, 
and  in  French  Building.  He  was  in  a  degree  a 
realist,  and  was  the  teacher  of  Monet.  Renoir  in 
room  61,  is  also  represented  in  both  places. 

Carolus-Dtiran,    the    teacher   of    so    many    great 

130 


ITS  ART,  STORY  AND  SYMBOLISM 

living  artists,  is  represented  in  the  French  Building 
by  one  large  portrait.  Besnard,  Director  of  the 
French  Academic  at  Rome,  has  pictures  here  and 
in  the  French  Section  of  the  Fine  Arts. 

Bonnat  and  Henner  each  have  good  pictures  in 
the  French  Building,  the  "Soldier's  Dream"  is  a 
great  military  picture.  Legros  is  represented  in 
the  French  Building,  also  Jules  Breton  has  a  peas- 
ant picture  here  and  in  room  62  of  the  Fine  Arts. 
Laurens  has  pictures  in  the  French  Section  of  the 
Fine  Arts  and  in  the  French  Building,  as  has  Degas, 
the  Impressionist.  But  there  is  one  picture  the 
public  should  always  be  grateful  for,  and  that  is 
the  Carriere  "Crucifixion."  The  portrait  in  room 
61,  Fine  Arts,  does  not  compare  with  either  of  the 
two  by  this  man  in  the  French  Building,  His 
"Crucifixion"  is  a  superb  picture  in  the  way  it  has 
been  handled  and  in  the  way  it  is  left  to  the  visitor 
to  fill  out  with  his  imagination  the  scene  so  ex- 
quisitely veiled  by  the  artist.  It  is  really  little 
more  than  the  merest  suggestion  of  this  great 
tragedy.  The  form  hanging  upon  the  cross  is 
barely  visible,  as  a  tender  enveloping  haze  shuts 
out  all  the  awful  realism;  but  beside  the  cross 
stands  a  form  of  a  woman,  his  mother,  in  such  an 
agony  of  grief  that  no  one  can  fail  to  appreciate 

131 


THE  DREAM  CITY 

the  sadness  of  the  hour  though  it  is  only  by  the 
clenched  hands  she  betrays  the  depths  of  her  sor- 
row. Of  all  modern  crucifixions  this  seems  to  be 
the  best. 

The  French  pictures  are  interesting-  in  many 
ways  to  the  American  people,  so  many  of  the  Amer- 
ican artists  have  studied  with  these  great  French- 
men that  their  names  are  strangely  familiar  to  the 
public  and  it  is  with  great  pleasure  the  visitor  is 
permitted  to  study  work  coming  from  the  hands 
of  these  men. 

The  sculpture  of  Rodin,  which  is  displayed  here, 
is  another  great  treat.  One  of  the  greatest  living 
artists,  he  claims  the  earnest  attention  of  all  who 
would  learn  to  what  extent  a  great  mind,  directed 
by  talent,  can  put  the  human  form  into  bronze  and 
marble,  and  to  what  degree  he  can  endow  these 
images  of  humanity  with  power  and  mind. 

Rodin  is  a  great  realist.  He  insists  that  in  art 
there  is  nothing  ugly  except  that  which  is  without 
character,  or  that  which  presents  no  outer  or  inner 
truth.  To  a  great  artist  everything  in  nature  is 
forceful,  and  that  which  is  ugly  often  presents  the 
most  character.  To  study  the  work  of  this  man 
is  to  realize  that  lying  back  of  everything  he  does 
is   tremendous   thought  amounting  to   phenomenal 

132 


ITS  ART,  STORY  AND  SYMBOLISM 

comprehension  of  moods,  purpose,  temperament, 
and  the  content  of  the  sitter's  mind.  The  great 
works  of  Rodin  certainly  are  not  pretty,  but  they 
have  a  beauty  of  intent,  of  character,  an  evidence 
of  thought  and  soul  that  transcends  all  else  in  the 
way  of  compelling  charm  and  fascination.  There 
is  little  this  great  interpreter  has  left  out  in  the 
making  of  his  bronze  and  marble  men  and  women ; 
they  think,  they  feel,  they  suffer,  they  grow  old, — 
this  he  pictures  almost  cruelly.  They  move,  and 
they  almost  breathe,  so  great  is  the  semblance  of  life 
their  creator  has  put  into  them.  Study  "The  Age 
of  Iron" ;  the  statue  is  a  passage  from  somnolence 
to  the  vigor  of  being  ready  for  action,  the  victory  of 
reason  over  brutish  pre-historic  age.  The  youth, 
who  is  scarcely  awake,  is  standing  on  legs  which 
still  vacillate,  but  as  the  eye  mounts  the  pose  be- 
comes more  fixed  and  to  watch  the  figure  it  seems 
almost  possible  to  detect  the  deep  breath  which 
would  fill  the  chest  and  precede  the  action  of  raising 
the  arms  to  throw  off  the  last  of  the  torpor  which 
has  held  him  prisoner  for  so  many  ages.  The  Saint 
John  standing  by  with  his  wiry  strength  and  great 
will  power  in  evidence,  is  one  who  could  call  for- 
ever in  the  desert.  Rodin  has  left  him  in  the  posi- 
tion of  just  taking  a  striding  step,  and  it  seems 

133 


THE  DREAM  CITY 

that  he  might  pass  on  to  the  fulfillment  of  his  mis- 
sion while  one  watched  him  disappear  in  the  dis- 
tance. 

It  is  certainly  a  group  of  masterpieces  the  visitor 
has  to  contemplate  here.  The  Bellone  is  strong 
and  comes  nearer  being  beautiful  than  all  the  others. 
The  portrait  bust  of  Henry  Rochefort,  editor-in- 
chief  of  a  large  Paris  paper  for  years,  is  fine.  Ob- 
serve the  bumps  upon  his  forehead,  the  face  seems 
to  be  one  that  might  be  an  ever-changing  vision, 
under  the  unconscious  control  of  a  mind,  active 
beyond  description,  with  the  preponderance  of  the 
great  questions  of  the  day. 

Rodin's  "Prodigal  Son"  is  an  unusual  concep- 
tion. He  is  much  more  youthful  than  the  worldly 
experience  which  he  is  supposed  to  have  passed 
through  would  permit  him  to  be.  He  is  one  of 
the  type  to  arouse  sympathy,  however,  and  one 
can  readily  conceive  the  joy  in  the  father's  house- 
hold, caused  by  the  return  of  this  tender,  youthful 
sinner. 

Rodin  in  speaking  of  public  appreciation  says : 
"The  crowd  can  too  often  understand  nothing  of 
that  sincere  observation  which  disdaining  theatrical 
poses  interests  itself  in  the  simple  and  much  more 
touching  attitudes  of  real  life.     Inexpressive  minu- 

134 


ITS  ART,  STORY  AND  SYMBOLISM 

tiae  and  false  nobility  of  gesture  too  often  please 
the  ignorant,  they  fail  to  grasp  the  greatness  of 
a  daring  impression  which  passes  over  useless  de- 
tails to  seize  only  upon  the  truth  of  a  tremendous 
whole."  One  cannot  appreciate  Rodin  unless  will- 
ing to  take  exactly  what  he  gives  by  an  understand- 
ing reaching  deep  into  the  depths  of  the  human 
heart.  A  man  who  declares  that  every  possible 
experience  of  human  intelligence  is  to  the  artist 
material  for  his  work,  is  a  man  who  becomes  an 
earnest  searcher  into  the  depths  of  the  human  mind. 
And  Rodin  says :  "The  great  artist  finds  beauty 
in  suffering,  destruction,  failing  strength,  dying 
genius,  the  treachery  of  his  friends,  the  death  of 
his  loved  ones,  even  though  his  own  heart  goes  on 
the  rack,  stronger  than  pain  is  his  joy  at  under- 
standing and  giving  expression  to  that  pain,  for 
he  knows  more,  and  seized  by  the  passion  for  truth 
he  has  by  the  knowledge  thus  obtained  his  com- 
pensation." The  man  who  enters  into  such  depths 
for  his  creative  material  is  the  man  who  bavins 
sounded  these  depths  can  give  to  the  world  that 
great  bronze  giant — "The  Thinker." 


135 


THE  DREAM  CITY 

SHORT  SKETCH  OF  ART  HISTORY. 

THE   SOURCE   OF    MODERN    INSPIRATION. 

In  no  one  expression  of  the  creative  power  of 
man  is  there  such  evidence  of  environment,  race  and 
country  manifested  as  in  his  art.  Almost  the  en- 
tire scope  of  his  intellectuality  is  displayed  in  one 
way  or  another  when  he  becomes  known  to  us 
through  his  art.  And  in  it  we  have  the  very  best 
man  has  to  give.  Some  speak  these  things  which 
lie  deep  within  them,  some  write  them,  others  give 
their  thoughts  form  in  bronze  or  marble  and  some 
give  thought  color  in  painting — those  to  whom 
these  methods  are  impossible  are  sometimes  able  to 
put  into  sound,  these  things  beating  for  expression, 
and  then  it  becomes  music.  In  any  case  when  the 
depths  of  the  soul  are  stirred  to  utterance  it  is  time 
to  listen — because  that  is  when  we  are  going  to  get 
the  side  of  man  which  is  the  creator  and  when  the 
soul  and  ideal  of  his  time  may  be  made  known. 

The  history  of  art  is  the  history  of  the  very 
finest  portion  of  the  lives  in  those  countries  and 
people  who  have  preceded  us.  We  should  know  it 
as  we  know  their  sacred  or  profane  history  and  if 
we  know  it  we  do  know  in  a  very  large  degree 
their  sacred  and  profane  history. 

The  Greek  ideal  of  beauty  which  has  for  cen- 

136 


ITS  ART,  STORY  AND  SYMBOLISM 

turies  embraced  the  excellence  of  all  art  is  peculiar 
to  them.  They  in  their  simple  faith,  open,  candid 
enjoyment  of  the  natural  as  they  had  it  loved  what 
they  considered  perfect  beauty.  So,  while  in  their 
marble — unfortunately  all  that  is  left  to  us — they 
have  physical  perfection  of  form,  exquisite  grace, 
charm  and  simplicity,  they  never  by  any  means  put 
enough  realism  into  their  statue  to  make  it  a  por- 
trait. No  human  face  with  its  imperfection  could 
serve  as  an  ideal  for  them.  No  sorrow,  pain,  age, 
or  disquieting  expression,  could  serve  them  as  an 
acceptable  model.  The  result  is  we  enjoy  a  Greek 
statue  with  a  broken  nose,  a  marred  face,  or  even 
no  head  at  all,  the  other  degree  of  beauty  and 
superb  fascination  being  in  no  way  lessened. 

The  Roman  took  unto  himself  all  the  excellence 
the  Greek  had  to  give  and  added  realism.  From 
his  hands  we  receive  the  first  portrait,  first  eques- 
trian statue,  and  the  first  combinations  enriching 
and  filling  to  a  fuller  degree  the  simpler  beauty  of 
the  Greek.  These  two  periods  preceded  by  several 
hundred  years  the  art  from  which  we  are  directly 
descended,  but  we  cannot  leave  them  out  of  our  art 
sketch  because  of  the  important  part  they  play  in 
all  modern  art. 

Modern  art  is  a  direct  product  of  the  Renaissance, 

137 


THE  DREAM  CITY 

that  splendid  time  which  opened  up  with  the  great 
revival  of  learning  and  is — even  until  today.  From 
about  1 200  A.  D.  until  this  hour  different  nations 
in  different  ways  at  different  times  under  entirely 
different  influences — religious,  political  and  moral — 
have  given  different  utterances  to  these  things,  and 
if  we  would  understand  these  messages  we  should 
know  something  of  the  history,  time  and  place,  the 
artist  and  his  work  then  become  more  intelligible 
to  us  and  we  are  greater  for  every  artist  whom  we 
bring-  ourselves  to  understand. 

The  Catholic  Church  stood  patron  of  artists,  and 
art  for  many  years.  The  art  which  precedes 
Raphael  is  peculiar  but  interesting  if  the  student 
will  enter  with  understanding  the  time  and  the 
spirit  of  the  times.  Symbolism  is  rife  in  these  pic- 
tures, the  loaf,  the  fish,  the  apple,  the  palm,  the 
laurel,  the  cross,  the  crown,  the  insignia  of  saints 
and  apostles,  all  have  their  might  of  information 
to  add.  The  colors  all  had  their  significance — white 
for  purity,  blue  for  truth,  red  for  love,  green  for 
envy,  yellow  for  jealousy,  etc.  The  actual  life,  time 
and  people  of  the  Biblical  story  formed  no  small 
part  of  the  pictorial  matter  in  this  period,  and  there 
are  holy  families,  saints  and  apostles,  great  church- 
men in  every  line  of  prominence,  the  madonna  and 

138 


ITS  ART,  STORY  AND  SYMBOLISM 

Christ-child  of  every  land  to  prove  the  importance 
of  art  as  the  "hand-maiden"  of  the  church.  The 
Bible  in  these  days  was  in  Latin,  the  laity  could 
not  read  it  and  the  teaching  power  of  these  pictures 
was  greatly  to  be  considered.  A  lesson  in  humility 
was  easily  given  by  a  pictured  saint  enduring  all 
things  in  an  agony  of  humility  upon  the  wall,  the 
love  or  mercy  or  the  avenging  power  of  the  church 
was  equally  well  portrayed.  So  these  pictures  served 
their  day  and  served  it  well.  In  many  instances 
there  is  no  beauty  of  perfection  in  them  but  in  al- 
most no  instance  are  they  all  together  uninterest- 
ing. 

Following  these  primitives  came  the  powerful 
Medici  family  in  Florence  and  the  scholarly  trend 
and  growth  immediately  after  Saint  Francis  and 
Dante  and  Giotto.  From  that  time  the  modern 
period  was  launched.  We  have  masters  leading  up 
to  heights  which  we  only  now  really  appreciate,  and 
again  in  order  that  we  may  know  how  these  men 
excel  it  is  entirely  necessary  to  know  the  excel- 
lence of  their  predecessors.  Raphael  with  his  splen- 
did graceful  line,  Correggio  with  his  glorious  color, 
Andrea  del  Sarto,  "the  faultless"  painter,  Leonardo 
and  Michelangelo,  the  superb  giants — all  have  left 
us  with  ideals  established  and  not  to  be  considered 

139 


THE  DREAM  CITY 

in  any  other  way  than  with  the  deepest  apprecia- 
tion. Had  Raphael  and  Leonardo  left  us  nothing 
but  their  drawings  we  would  still  have  had  invalu- 
able treasures.  But  Michelangelo  was  the  one 
whose  work  gives  us  more  of  himself  in  almost  un- 
speakable greatness.  He  lived  to  himself,  largely 
alone,  imposed  upon  by  his  family,  entirely  misun- 
derstood, often  in  flight  from  his  native  city  which 
he  loved,  with  unsoundable  depths  of  feeling  and 
appreciation  in  his  own  breast  he  was  unable  to  call 
forth  response  from  the  heart  of  any  other  human, 
and  consequently,  we  have  from  his  work  the  soul's 
cry  of  him  which  stirs  us  today  in  his  marble  men 
and  women  and  those  painted  in  his  powerful, 
sculptural  manner.  The  name  of  Michelangelo 
calls  before  one  hosts  of  these  dumb  witnesses  filled 
to  overflowing  with  utterance  in  their  powerful  and 
superb  execution.  Recall  his  great,  sorrowing 
mother  in  marble  with  the  glorious  dead  Christ  on 
her  knees — the  Pieta  of  the  Vatican;  his  Day  and 
Night — the  Medici  tomb,  the  first  work  in  mar- 
ble to  give  any  idea  of  the  tremendous  strength  and 
power  of  suggestion  to  be  found  in  the  unfinished 
work  in  marble.  It  takes  no  time  at  all  when  look- 
ing at  these  great  guardians  of  the  Medici  tomb  to 
bring  before  the  mental  vision  the  possibilities  only 

140 


ITS  ART,  STORY  AND  SYMBOLISM 

merely  uttered  by  the  sculptor  in  these  unfinished 
marbles.  It  is  in  his  Sistine  Chapel,  however,  that 
he  leaves  nothing  unsaid.  Here  we  have  the  whole 
gamut  of  human  history,  from  the  convincing  and 
superb  Creator  and  the  splendid  Adam  and  Eve 
whom  he  blessed  and  put  on  the  earth,  through  Bib- 
lical story  to  the  miserable  failure  in  the  drunken 
Noah  from  whom  one  turns  in  sorrowing  wonder- 
ment. Then  it  is  that  Michelangelo,  the  giant, 
speaks — then  it  is  that  all  that  is  human,  all  that 
can  be  stirred  by  the  utter  failure  of  mankind,  all 
that  is  Christian  arises  in  him  and  he  proceeds  to 
portray  the  impossibility  of  this  degradation  of 
humanity.  With  the  might  of  his  thought  and  faith, 
and  the  power  and  talent  of  his  brush,  he  shows  the 
depths  and  heights  attainable  by  mankind  through 
devotion  to  religion,  to  ideals,  and  to  consuming 
love.  He  places  there  in  glorious  array  the  proph- 
ets great  and  small — those  who  carried  all  things 
before  them  and  those  who  failed,  and  they  speak 
with  telling  power — these  men  of  deeds  and  faith. 
It  is  almost  possible  to  hear  their  voices,  when  gaz- 
ing in  absorbed  interest  one  studies  the  fine,  young 
Daniel,  the  hopeful  Joel,  his  strong  Isaiah  and  his 
wonderful  Elijah;  but  it  is  in  the  Jeremiah  that 
Michelangelo   gives   himself   to   the   world.      It   is 

141 


THE  DREAM  CITY 

Jeremiah,  the  greatest  psychological  figure  in  the  art 
world,  sitting  in  his  Herculean  pose  of  misery  and 
despair,  who  speaks  of  the  overwhelming  disap- 
pointment and  agony  which  follows  the  utter  aban- 
donment of  hope.  While  Michelangelo  knows  the 
depths  and  displays  them,  it  is  but  a  part  of  the 
message  he  conveys  on  these  chapel  walls,  this  holy 
of  holies  of  the  Renaissance.  His  faith  looks  be- 
yond and  he  leads  to  the  symbols  of  better  things 
in  the  more  mystic  seeresses  and  sibyls;  those  who 
foretell  for  every  land  and  every  people  are  placed 
among  those  who  have  despaired  and  again  Michel- 
angelo would  instill  hope  and  courage  to  strive  in 
the  human  breast.  It  took  sixteen  hundred  years 
of  Christianity  to  make  this  man,  but  he  was  worth 
it.  He  is  the  great  father  of  the  moderns.  He  it 
was  who  was  able  to  prove  that  almost  everything 
was  expressible  in  art,  and  in  his  own  sorrow  and 
bitterness  of  loneliness  he  had  unending  resource 
for  inspiration.  Look  where  one  will  the  influence 
of  this  all-seeing  master  prevails  today  as  perhaps 
no  other  does,  and  in  living  so  entirely  the  whole 
possibility  of  human  sorrow,  together  with  his  mas- 
terful talent  he  was  able  to  speak  in  his  work  of  al- 
most every  emotion  of  the  human  heart  and  he  is 
as  modern  in  thought  and  power  as  if  he  had  lived 

142 


ITS  ART,  STORY  AND  SYMBOLISM 

yesterday.  It  is  no  wonder  our  men  of  today  draw 
upon  these  giants  of  the  past.  No  one  can  compre- 
hend them  without  being  greater  in  himself,  and 
all  the  greatness  of  the  past  art  history  is  a  never 
ending  source  of  inspiration  today.  (There  is  a  fine 
bit  of  sculpture  by  Aitken  in  the  colonnade  of  the 
Fine  Arts  representing  Michelangelo  working  upon 
Day,  the  Medician  statue.) 

Growing  up  contemporaneously  with  this  Italian 
Art  was  the  peculiar  and  entirely  different  art  of 
Northern  Europe.  The  proof  that  honest  art  is 
largely  in  the  mind  of  the  artist  and  that  in  this 
voice  of  himself  his  people,  his  land  and  environ- 
ment also  speak  cannot  be  better  shown  than  in 
this  art  history  of  the  Flemish  and  Dutch.  They 
had  low  land,  tremendous  sky  spaces,  and  their 
eternal  enemy,  the  sea,  and  from  the  beginning 
these  enter  largely  into  their  pictures.  They  for 
years  had  nothing  beautiful  in  their  art  save  these 
three  factors  of  their  land,  but  they  did  not  miss  it. 
Their  little  chubby,  round-faced,  blonde  women,  re- 
sembling dolls,  of  good  proportions,  served  them  as 
saints,  madonnas,  Mary  Magdalens  and  in  every 
other  capacity  without  ever  failing  to  satisfy.  None 
of  the  ravishing,  impassioned  beauty  of  the  brown- 
eyed,  dark-haired  Italian  women  crept  into  this  art 

143 


THE  DREAM  CITY 

of  the  north  land.  But  the  realism,  truth,  technic 
and  infinite  amount  of  detail  in  these  pictures  could 
reveal  the  whole  history  of  their  manners  and  cus- 
toms if  the  printed  pages  of  these  lands  were  com- 
pletely destroyed.  So  much  of  the  essence  of  their 
every-day  life  with  its  little  happenings  up  to  the 
great  incidents  of  life's  sorrows  and  disappoint- 
ments is  given  that  the  story  is  told  truthfully  and 
not  lacking  in  any  way  either  in  comedy  or  tragedy. 
In  the  art  of  these  lands  we  see  the  difference  in 
the  mental  attitude  of  the  Italian  and  the  North- 
ern European.  The  average  Southerner  cannot  be 
interested  in  anything  not  beautiful — a  picture  must 
be  rich  in  color,  easy  to  understand  and  possess  a 
large  degree  of  charm  to  hold  the  Italian.  These 
northern  men  have  such  quiet,  plodding,  philo- 
sophical minds  that  they  study  and  investigate  any- 
thing placed  before  them,  not  meaning  that  they 
always  ■  approve,  but  they  do  not  pass  judgment 
hastily  nor  do  they  fail  to  appreciate  because  they 
have  failed  to  see.  The  picture  if  well  done,  no 
matter  how  simple  and  homely  the  subject,  will 
hold  them  and  command  their  respect.  The  factor 
of  mere  beauty  is  frequently  altogether  absent  in 
this  art  but  excellence  in  every  other  form,  from 
technic  to  infinite  pains  with  microscopical  detail  is 

144 


ITS  ART,  STORY  AND  SYMBOLISM 

in  evidence  always.  These  artists  of  the  north  are 
the  great  reaHsts — nothing  catching  their  attention 
is  too  mean  to  paint  and  we  have  everything  from 
a  pigsty  to  a  palatial  interior  with  exquisite  mar- 
ble columns  and  Oriental  rugs,  everything  in  figure 
painting  from  a  slaughtered  pig  in  a  butcher  shop 
to  the  most  elegant  grand  dame  and  dignified  bur- 
gomeister.  Wonderfully  beyond  words  do  these 
northern  masters  pile  up  ugliness  into  subjects  of 
compelling  power.  Old  age  is  given  us  by  Rem- 
brandt in  those  faces  seamed  and  lined  by  exper- 
ience and  sorrow ;  and  the  hands  gnarled  and  knotty 
evidence  of  tremendous  toil,  are  as  eloquent  in  their 
expression  of  life  as  the  fine  things  of  Michel- 
angelo's are  of  the  sufferings  of  the  soul.  So,  in 
the  north  we  have  given  us  for  the  first  time  the 
beauties  of  the  earth  idealized  and  the  life  of  the 
human  kind  with  only  powerful,  truthful  realism  as 
the  means  of  expression.  Another  art  epoch,  tre- 
mendous in  its  might  and  placing  quite  another 
phase  of  the  creative  side  of  man  before  us,  and  one 
to  which  our  modern  men  turn  constantly  for  in- 
spiration. Truly  everything  is  as  much  of  the  past 
as  it  can  carry  and  only  as  much  of  the  future  as  it 
can  anticipate.  The  artist  who  from  his  heights 
sees  beyond  and  by  this  foresight  can  express  things 

145 


THE  DREAM  CITY 

of  extraordinary  power  is  the  soul  who  speaks  for 
coming  generations  and  for  the  world.  These  men 
of  the  north  passed  through  a  great  experience 
which  changed  the  trend  of  their  subject  matter 
and  popularized  the  portrait,  giving  it  a  place  of 
greater  standing  than  it  had  attained  before.  When 
the  Reformation  swept  over  northern  Europe  it  was 
among  these  slow-going,  sturdy,  plodding  Hol- 
landers it  took  deep  and  lasting  root.  Once  this 
was  the  case  the  preponderance  of  church  as  paint- 
ing material  was  overcome  and  their  intimate  life 
history  supplied  the  vacancy.  The  painters  turned 
to  the  great  commercial  and  professional  guilds  for 
their  large  pictures  and  took  market  scenes  and 
military  and  political  displays  for  the  former  religi- 
ous pageants. 

Nothing  escaped  these  men  in  the  way  of  sub- 
ject matter.  The  little  intimate  things  they  have 
left  us  in  the  way  of  scenes  from  their  home  lives 
would  be  a  complete  history  of  the  manners  and 
customs  of  their  time.  We  have  from  their  brushes 
every  chapter  of  their  daily  life,  every  room  of  their 
dwelling  places,  and  almost  every  action  called  for 
in  the  maintenance  of  their  business  and  homes. 
No  people  before  them  have  left  so  monumental  and 
pictorial  a  history  of  their  everyday  life.     We  have 

146 


ITS  ART,  STORY  AND  SYMBOLISM 

them,  eating,  drinking,  singing,  fishing,  playing 
all  musical  instruments,  engaged  in  all  modes 
of  entertainment  and  study,  on  the  street,  in  the 
cathedrals,  at  the  market-places,  in  their  gardens, 
artisans  at  work,  artists  in  their  studios,  maids  at 
their  various  duties,  and  the  home  from  cellar  and 
court  to  garret.  Many  men  paint  over  and  over 
some  one  phase.  Van  Steen  gives  us  tavern  and 
drinking  scenes  until  we  utterly  tire  of  them.  Halz 
gives  fishing  scenes  and  drunken  and  Bohemian 
sailor  folk.  Rembrandt  gives  from  the  most  luxur- 
ious scenes  to  the  poorest  possible  Jewish  quarters 
in  Amsterdam.  Terborch,  Van  de  Meer  and  Maes 
give  us  the  scenes  from  the  wealthy  burghers — the 
women  dressed  in  sheeny  satin  and  rich  velvet,  and 
all  of  them  give  us,  when  demanded,  superbly  de- 
lightful portraits.  Some-  of  the  world's  greatest 
portraits  come  to  us  from  these  Dutch  painters  and 
the  walls  of  the  great  art  collectors  can  illy  afford 
to  lose  any  of  these  splendid  faces  of  men  and 
women  as  given  by  the  Dutch  men — little  and  great. 
The  popularity  in  England  of  two  of  these  men — 
these  great  portrait  painters — made  the  way  clear 
for  the  English  portrait  period.  Van  Dyke,  pupil 
of  Rubens,  painter  of  gloriously  beautiful  court 
dames,  and  dignified  and  imposing  cavaliers,  went 

147 


THE  DREAM  CITY 

from  Antwerp  to  London  and  became  the  great 
predecessor  of  the  EngHsh  portrait  men.  Holbein, 
the  younger,  a  German  painter,  did  very  much  in 
England  too  among  the  rich  middle  class  and  the 
nobility.  These  two  made  fitting  fore-runners  for 
the  fine  coterie  of  English  portrait  painters  who 
came  all  together  in  a  splendidly  talented  group  to 
leave  behind  them  an  unusual  achievement,  some- 
thing new  and  something  never  repeated  in  the 
history  of  art. 

English  portrait  painting  stands  alone  both  in 
excellence  and  in  the  fact  of  having  been  almost 
the  only  splendid  thing  done  by  the  gifted  men  of 
the  eighteenth  centufy.  Gainsborough  and  Rey- 
nolds, Romney,  Lawrence  and  Hoppner  have  left 
upon  their  canvases  the  story  of  the  fascinating  men 
and  women  of  that  period,  in  many  instances  pic- 
tures of  beauty  and  power.  Each  artist  had  his  own 
way  of  handling  this  superb  array  of  lords  and 
ladies,  soldiers,  actresses,  and  wealthy  middle  class 
folk. 

Gainsborough,  the  independent,  unbending,  tal- 
ented inhabitant  of  Bath,  was  for  years  contented  to 
live  away  from  the  great  capital,  and  allow  his  talent 
and  reputation  to  draw  from  the  busy  outside  world 
only  those  who  because  of  his  rising  reputation  were 
desirous  of  coming  to  him. 
148 


ITS  ART^  STORY  AND  SYMBOLISM 

Reynolds,  pleasing,  gracious,  scholarly,  given  to 
pretty  or  tender  pose,  was  close  to  the  gruff  master 
in  skill  and  popularity  when  Gainsborough  entered 
the  London  circle.  Romney,  however,  was  the  man 
who  made  Reynolds  most  uncomfortable.  They 
were  so  nearly  equal  in  skill  that  it  became  impos- 
sible for  them  to  live  as  friends ;  rivalry  and  bitter 
feeling  kept  them  apart  for  years ;  in  fact,  only 
when  Reynolds  came  to  die  was  Romney  moved  to 
visit  the  old  master  and  make  peace. 

Hoppner  and  Lawrence  had  something  of  the 
same  spirit;  both  men  of  sensitive  instincts,  both 
given  to  the  beautiful  more  than  their  immediate 
predecessors,  both  high  in  court  favor.  This  rivalry 
in  field  increased  the  feeling  of  partisanship  to  bit- 
terness. Hoppner,  in  all  probability  the  natural 
son  of  the  King,  was  supported  and  educated  by  the 
King,  and  then  given  the  prestige  which  royal  favor 
always  brings.  Lawrence  was  the  favorite  of  the 
Prince  of  Wales.  The  man  who  serves  successfully 
the  Crown  Prince  serves  the  longer,  because  the 
King  is  always  the  "setting  sun."  These  two 
artists  were  the  last  of  the  brilliant  group ;  a  decad- 
ent period  immediately  followed. 

Many  students  of  art  insist  upon  having  the 
beautiful,  whether  in  landscape  or  figure  work. 
When  this  insistence  once  prevails,  when  once  the 
149 


THE  DREAM  CITY 

general  trend  of  subject  matter  and  treatment  turns 
into  this  beguiling  and  luring  pathway,  the  end  is 
invariably  in  sight.  The  great  men  of  the  Renais- 
sance were  followed  by  men  given  over  entirely  to 
the  pursuit  of  the  beautiful — Guido  Reni,  Carlo 
Dolci  and  others.  The  result  was  that  the  Italian 
school  went  down  and  the  invigorating  spirit  of 
growth,  strength  and  excellence  passed  to  the  mas- 
ters of  the  Dutch  and  Flemish  school.  They  flour- 
ished until  they,  too,  were  producing  only  servitors 
and  imitators,  and  they  lost  the  palm.  It  has  always 
been  so,  and  always  will  be  so.  It  takes  power,,  orig- 
inality, progress,  truth,  unyielding  perseverance  and 
keen  judgment  upon  the  part  of  the  artist  to  keep 
his  art  out  of  the  commonplace.  Nothing  will 
hurl  high  standards  into  the  depths  so  quickly  as  ab- 
ject regard  for  the  beautiful,  which  very  soon  be- 
comes the  merely  pretty.  The  pretty  has  served  as 
the  wrecking  rock  for  almost  every  period  of 
achievement  in  art  history.  The  English  portrait 
school  had  the  same  experience,  and  just  when  its 
great  men  were  beginning  to  lay  down  the  palette 
and  brush  American  art  comes  on  the  scene. 

Though    closely    allied    to    the    art   of    England, 
American  art  is  a  chapter  by  itself,  and  its  growth 
intensely  interesting.     It  has  been  stated,  and  re- 
peated, in  these  pages  that  the  creative  work  of 
150 


ITS  ART,  STORY  AND  SYMBOLISM 

humanity  is  almost  invariably  a  mirror  of  the  finest 
depths  of  the  mind,  revealing  sentiment  too  noble 
for  the  passing  throng. 

While  at  heart  the  English  and  the  American  are 
brave,  tender,  kind  and  true,  the  average  man  of 
both  countries  would  rather  have  murder  discov- 
ered in  his  soul  than  a  suspicion  of  sentiment.  Out 
of  reticence,  out  of  apparent  coldness,  out  of  con- 
cealed depths  of  men  usually  undemonstrative,  we 
trace  the  development  of  their  art;  and  gradually, 
through  quiet  humor,  through  paths  altogether  con- 
ventional and  traditional,  the  touching  incidents  of 
every-day  life,  the  portrait  and  the  genre  picture 
appear  differently  handled  by  these  American  and 
English  men. 

For  the  first  time  in  the  history  of  American 
art  an  attempt  has  been  made  to  give  a  se- 
quential historical  exhibition  of  its  growth  and  de- 
velopment. Mr.  J.  E.  D.  Trask  has  succeeded  in 
gathering  a  comprehensive  group  illustrating  the 
art  of  America  from  pre-Revolutionary  times  down 
to  the  present  moment.  If  the  visitor  would  get  the 
best  result  from  the  collection  of  American  pictures 
he  should  trace  the  series  from  Benj.  West  to  the 
men  of  today.  Besides  about  two  hundred  and 
fifty  pictures  in  this  sequence,  Mr,  Trask  has  given 
where  possible  several  pictures  of  one  man,  so  that 
151 


ITS  ART,  STORY  AND  SYMBOLISM 

one  may  have  the  opportunity  of  learning  more 
thoroughly  the  style  of  the  numerous  men  repre- 
sented. La  Farge,  Inness,  Abbey,  Wyant,  Theodore 
Robinson,  Winslow  Homer  and  many  others  have 
from  five  to  fifteen  pictures,  while  whole  rooms  are 
given  to  Whistler,  Sargent,  Pennell,  Pyle,  Mac- 
Clure  Hamilton,  Twachtman,  Redfield,  Tarbell, 
Duveneck,  Chase,  Gari  Milchers,  Childe  Hassam, 
Skinner  Clark  and  Kieth ;  Mathews  and  McComas 
share  one  room.  It  is  impossible,  unless  writing 
volumes,  to  name  the  many  men  represented.  The 
intent  of  these  pages  is  only  in  a  measure  to  arouse 
the  public  appreciation  of  the  opportunity,  which  is 
theirs  only  for  the  next  few  months,  to  become 
acquainted  in  a  delightful  way  with  this  splendidly 
varied  collection. 

The  cosmopolitan  American  knows  European  art 
down  to  its  most  modern  phase,  but  has  been  con- 
tent to  allow  his  own  art  to  remain  an  altogether 
neglected  quantity,  believing  it  was  of  little  import- 
ance. This  belief  has  long  ceased  to  be  true ; 
American  art  has  been  recognized  abroad  by  the 
master  teachers  as  of  great  and  peculiar  excellence ; 
and  it  behooves  the  art  lover  of  today  to  make  the 
acquaintance  of  this  phase  of  art  history  by  study- 
ing thoroughly  the  collection  placed  for  observation 
in  the  Palace  of  the  Fine  Arts. 
152 


ITS  ART,  STORY  AND  SYMBOLISM 

The  series  begins  with  the  famous  Lion  Gate  nt 
Mycenae.  Then  comes  an  interval  of  nine  hun- 
dred years.  The  Seventh  Century  B.  C.  brings  the 
first  large  marble  figures,  crude,  uncouth  and  poorly 
done  but  showing  the  work  and  developing  into 
finer  things  in  the  Sixth  Century.  These  so-called 
Apollos,  No.  15,  1558,  2720,  624;  the  first  sculp- 
tural tomb  stones  624,  and  the  archaic  Nike  from 
Delos  21. 

The  Sixth  Century  is  shown  by  the  group  from 
the  pediment  of  the  temple  of  Athena  31,  625,  670, 
697,  700. 

The  Fifth  Century  gives  the  sculpture  from 
Aegina. 

From  the  middle  of  the  Fifth  Century  Phidias 
and  his  school  rules  supreme  in  Athens.  This  is 
shown  by  the  work  from  the  Parthenon,  the  famous 
Athena  by  Phidias  128,  129,  and  the  relief  from 
Eleusis  126.  The  end  of  the  century  is  shown  by 
work  from  Erechtheion  and  the  temple  of  Nike  on 
the  Acropolis. 

The  Fourth  Century  brings  the  work  of  Skopas. 
178,  180,  and  of  Asklipios  at  Epidauros  in  the  Ar- 
golid  136.  The  world-renowned  Hermes  of  Praxi- 
teles   (from    Olympia)    and    by    works    from    his 

153 


THE  DREAM  CITY 

school,  i8i,  182,  215,  217,  and  the  fine  funeral  re- 
liefs from  Athens  715. 

The  Third  Century  and  Second  Century  offers 
the  Themis  of  Rhamus  231,  the  Poseidon  from  Un- 
los  235,  the  Gaulish  warrior  from  Delos  247  and 
the  remains  of  a  group  by  Damophon,  1734,  2737. 
A  few  good  Roman  portraits  bring  us  to  the  period 
of  Roman  Art  (249,  417,  368). 

In  the  Greek  Building,  recently  opened,  may  be 
found  much  that  is  interesting  to  the  Art  Student. 
The  collection  is  arranged  chronologically  and  is 
easy  to  follow.  In  beginning  with  the  Lion  Gate 
of  Mycenea  the  oldest  motive  in  the  sculptural  art 
is  used,  the  part  it  plays  in  ancient  history  is  not 
yet  determinable.  A  fine  collection  of  photographs 
of  Mycenea  is  to  be  seen  illustrating  the  whole 
chapter  of  Mycenean  history. 

Some  remarkable  casts  are  among  the  number 
shown — among  them  the  famous  Hermes  of  Praxi- 
tiles. 

The  casts  displayed  contain  good  examples  from 
the  earliest  Greek  art  down  to  146  B.  C. 


154 


ITS  ART,  STORY  AND  SYMBOLISM 

ART  OF  COLONIAL  TIMES. 

When  the  Puritans  came  to  the  western  world 
they  brought  no  art  with  them.  They  were  not  far 
removed  from  the  fanatics  who  had  been  breaking 
church  statuary  and  rending  holy  pictures.  While 
Rembrandt  and  Halz  and  many  other  Dutch  masters 
were  at  their  best  in  Holland,  the  colonists  on  the 
New  England  Coast  had  their  Bibles  for  inspiration 
and  consolation,  and  the  hardships  attending  pio- 
neer life  for  daily  combat.  Occasionally  a  later 
arrival  brought  a  family  portrait  as  an  heirloom, 
but  such  were  few.  The  beginning  of  native  art 
was  slow,  and  excellence  came  slower. 

Aside  from  one  or  two  mediocre  English  painters 
who  sought  to  escape  the  overwhelming  power  and 
talent  of  the  force  working  in  England,  no  artists 
came  to  the  Colonists.  They  were  not  missing  the 
joys  of  the  possession  of  art,  however.  Their  Puri- 
tan preachers  were  moved  to  eloquence  every  Sab- 
bath by  the  supposed  danger  of  hell-fire,  and  so 
vivid  and  awful  were  their  descriptions  that  a  guilty 
conscience  must  have  enabled  any  earnest  listener 
to  have  pictured  for  himself  all  the  various  stages 
of  the  region  to  which  the  unrighteous  were 
doomed.  Strange  enough,  when  artists  did  begin 
to  go  among  the  people  to  paint,  it  was  these  same 

155 


THE  DREAM  CITY 

Puritan  divines  who  seemed  most  willing  to  be 
painted  and  who  made  the  finest  subjects.  Many 
of  our  pre-Revolutionary  engravings  and  portraits 
are  of  these  men  who  warned  their  congregations 
of  the  wrath  of  God,  preached  repentence,  and  sat 
in  judgment  upon  their  neighbors. 

Benjamin  West,  born  in  1738,  in  the  Quaker  vil- 
lage of  Springfield,  near  Philadelphia,  was  the  first 
American  to  lift  himself  bodily  out  of  his  environ- 
ment and  to  start  upon  an  artistic  career.  He  had 
sufficient  power  of  likeness  to  enable  the  Indians 
to  recognize  his  drawings  of  his  younger  brothers. 
No  colors  being  at  hand,  the  Indians  gave  him  the 
dyes  such  as  they  used  for  personal  adornment. 
He  made  his  brushes  from  the  fur  of  wild  animals 
and  with  this  equipment  he  was  painting  when  he 
was  discovered  by  a  kind  Philadelphian,  who 
promptly  sent  him  some  colors.  After  some  suc- 
cessful work  in  Philadelphia  he  was  finally  sent  by 
a  benefactor  to  Rome,  where  he  studied  for  three 
years. 

West's  association  with  the  wilds  of  the  Ameri- 
can colonies,  the  romantic  help  given  him  by  In- 
dians, and  his  own  personal  charm  made  him  an 
object  of  great  interest.  His  historian  tells  us  that 
when  he  went  sightseeing  in  Rome  he  was  followed 

156 


ITS  ART,  STORY  AND  SYMBOLISM 


157 


THE  DREAM  CITY 

by  a  crowd  of  the  friendly  curious,  who  enjoyed 
his  naive  exclamations  when  coming  upon  the 
various  art  treasures  of  the  Eternal  City.  While 
looking  at  the  Apollo  Belvedere  he  laughingly  said, 
"Humph!  he  is  no  god;  he  is  a  Mohawk  warrior!" 

From  Rome  West  went  to  London,  where  he 
made  a  place  for  himself  from  the  very  beginning. 
At  the  death  of  Reynolds,  West  was  elected  to  suc- 
ceed him  as  president  of  the  Royal  Academy.  This 
gave  him  great  power  and  prestige,  and  pupils 
flocked  to  him  from  the  American  colonies.  He 
took  them  all  in  and  more  than  once  clothed,  shel- 
tered, fed  and  taught  at  his  expense. 

The  picture  of  West's  Magdalene  is  the  best 
shown  in  the  gallery.  The  coloring  is  pleasing, 
the  grouping  is  good,  but  the  faces  are  very  similar, 
which  betrays  weakness. 

His  art  was  not  up  to  the  standard  of  the  great 
Englishmen  then  painting,  but  he  never  realized 
this,  as  public  opinion  of  the  day  placed  him  high 
above  mediocrity.  Time,  however,  has  leveled  his 
work  to  the  place  it  occupies  today.  This  we  must 
admit  is  just,  even  though  we  love  the  kind,  vener- 
able old  teacher  and  would  have  enjoyed  his  pres- 
ence among  the  masters  of  English  portraiture.  The 
place  occupied  by  West  is  important  in  American 

1S8 


nS  ART,  STORY  AND  SYMBOLISM 

art,  and  he  is  given  as  great  a  place  in  the  history 
of  EngUsh  art.  They  honored  him  while  he  lived, 
he  was  knighted  by  the  King,  and  buried  in  St. 
Paul's. 

West  sent  home  a  number  of  well  trained  pupils, 
each  of  whom  has  some  representation  in  the  His- 
torical American  room.  Pratt  has  a  good  portrait 
of  West,  his  master ;  Robert  Edge  Pine,  C.  W- 
Peale,  and  his  several  sons  are  represented  by  por- 
traits; but  the  pupil  who  was  greater  than  the 
others  and  who  excelled  his  master  was  Gilbert 
Stuart.  He  came  back  to  young  America  to 
paint  the  distinguished  men  of  the  day :  General 
George  Washington,  Hamilton  and  Thomas  Jeffer- 
son, of  whom  he  made  some  remarkably  pleasing 
portraits. 

Gilbert  Stuart's  personality  was  unusual  and  in- 
teresting. He  had  no  sense  of  responsibility,  and 
at  the  same  time  was  clever  and  talented ;  mindful 
of  his  personal  comforts  only ;  shrinking  not  at  all 
from  involving  his  close  friends  in  most  em- 
barrassing circumstances.  Numerous  stories  are 
told  of  his  utter  disregard  of  meeting  his  obliga- 
tions, and  some  of  the  finest  work  he  died  pos- 
sessed of  should  not  have  been  his. 

When  he  painted  George  Washington,  the  first 

159 


THE  DREAM  CITY 

attempt  was  a  failure,  which  he  destroyed.  Before 
starting  the  second  portrait  he  made  many  inquiries 
regarding  Washington's  idosyncracies,  his  Hkes  and. 
disHkes  and  the  subjects  he  was  freest  to  converse 
upon.  Stuart  discovered  that  Washington  was  most 
apt  to  forget  himself  when  talking  about  the  recent 
Revolutionary  experiences.  Armed  with  this  infor- 
mation, Stuart  was  able  to  arouse  Washington's  in- 
terest, and  the  second  portrait  was  the  result,  which 
every  American  knows,  reveres  and  loves. 

The  request  for  the  portrait  came  from  Mrs. 
Washington ;  but  when  Gilbert  Stuart  realized  the 
success  of  the  undertaking  and  appreciated  the  dif- 
ficulty of  securing  another  engagement  with  Gen- 
eral Washington  he  resorted  to  trickery  in  order 
that  he  might  retain  it.  The  face  and  head  were 
finished  in  Stuart's  best  manner,  but  he  only  blocked 
in  the  neck  and  shoulders.  Leaving  the  portrait  in 
this  state  he  always  readily  assured  Mrs.  Washing- 
ton that  the  picture  was  unfinished,  but  should  come 
to  her  as  soon  as  it  was  in  condition.  The  famous 
portrait  (it  is  owned  by  the  Boston  Museum  of 
Fine  Arts)  never  having  been  finished  by  the  de- 
signing painter,  it  served  him  as  the  splendid  model 
for  at  least  fifteen  reproductions.  Unfortunately, 
the  Palace  of  Fine  Arts  is  not  able  to  show  this 

160 


Gen.  Dearborn— Stuart 

161 


THE  DREAM  CITY 

likeness  of  the  Father  of  Our  Country,  but  the 
Massachusetts  Building  has  a  splendid  copy  of  it. 

If  Gilbert  Stuart  had  remained  in  England  and 
had  painted  the  type  of  person  produced  by 
Reynolds  and  the  other  Englishmen  his  work  would 
have  ranked  with  theirs.  There  are  many  things 
which  go  to  make  him  the  best  American  portrait 
painter  of  this  early  period,  and  it  is  always  with 
pride  we  may  look  upon  a  Stuart  portrait. 

It  is  utterly  impossible  to  mention  all  the  men 
who  fill  the  historical  sequence  in  these  rooms  given 
up  to  the  early  American  painting,  but  one  studying 
them  will  be  able  to  fill  in  those  who  must  be  omitted 
in  these  pages.  In  the  study  of  these  rooms  the 
visitor  can  not  fail  to  see  that  a  number  of  artists 
have  been  men  of  much  more  than  ordinary  talent 
and  the  picture  of  General  Dearborn  by  Stuart  xs 
one  of  his  best. 

One  man,  a  later  pupil  of  West — Samuel 
F.  B.  Morse — has  an  unique  place  in  this  list. 
Few  know  that  he  was  an  artist  who  had  received 
highest  commendation  in  the  old  world,  and  that  he 
returned  to  the  United  States  to  go  on  with  art  as 
his  profession.  Three  of  his  portraits  hang  in  a 
room  of  the  Fine  Arts  Palace,  and  they  speak  for 
themselves.     Morse  had  received  great  encourage- 

162 


ITS  ART,  STORY  AND  SYMBOLISM 

ment  from  West,  and  had  painted  some  good  pic- 
tures. Among  the  last  things  he  attempted  to  do 
while  in  London  was  a  large  canvas  which  he  called 
"Dying  Hercules."  He  had  been  working  upon  it 
for  weeks,  and  could  not  satisfy  West  with  the  body 
of  the  great  god.  West  finally  suggested  that  Morse 
leave  off  painting  for  a  while  and  model  the  torso, 
becoming  thereby  familiar  with  the  difficulties  of 
handling  the  body  in  another  way.  When  Morse 
had  finished  with  the  clay  he  had  so  excellent  a  Her- 
culean figure  that  West  suggested  that  he  submit 
it  to  the  Sculptors'  Society,  which  was  just  about 
ready  to  hold  its  annual  exhibition.  The  Hercules 
was  accepted,  and  awarded  the  gold  medal. 

A  wealthy  American  tourist  visiting  the  exhibi- 
tion, upon  discovering  that  the  gold  medal  had  been 
given  to  an  unknown  American,  promptly  bought 
the  Hercules.  Morse  received  the  money,  but  never 
heard  again  of  his  Hercules.  In  1815  Morse  re- 
turned to  the  United  States,  hoping  to  establish  him- 
self here  and  continue  with  his  work.  He  painted 
portraits  for  fifteen  dollars  a  head,  and  did  some 
good  work,  but  with  no  flattering  results  financially. 
His  air  castle  rose  from  visions  of  a  picture  which 
he  hoped  to  paint  for  Congress  and  place  in  the 
capitol.     He  had  thirty-two  portraits  ready  for  the 

163 


THE  DREAM  CITY 

great  picture  and  had  worked  over  two  years,  when 
the  scheme  fell  through  altogether,  much  to  his 
disappointment. 

The  failure  of  this  plan  and  the  difficulty  of  ob- 
taining work  drove  him  more  and  more  into  the  field 
of  invention.  Returning  from  England  in  1832,  he 
had  a  conversation  upon  the  steamer  with  some  men 
concerning  electricity.  He  knew  little  about  the  sub- 
ject beyond  a  few  lectures  he  had  taken  with  inter- 
est at  Yale,  When  told,  in  answer  to  his  questions 
concerning  the  length  of  time  required  for  the  cur- 
rent to  pass  through  the  wire,  that  it  was  instan- 
taneous, he  replied:  "If  the  transit  can  be  made 
visible  in  any  part  of  the  circuit  then  I  see  no  reason 
why  intelligence  may  not  be  instantaneously  trans- 
mitted." That  night  Morse  dotted  down  the  first 
suggestions  for  the  "Morse  alphabet." 

When  this  invention  was  perfected  and  accepted 
it  was  about  to  be  installed  in  the  capitol  at  Wash- 
ington, D.  C.  Unwilling  to  entrust  this  important 
commission  to  any  other  than  himself,  Morse  was 
doing  the  work.  One  day  while  carrying  the  appa- 
ratus into  the  basement,  way  over  in  a  dark  corner, 
on  a  neglected  rubbish  pile,  he  thought  he  saw  some- 
thing familiar.  After  some  investigation  and  some 
thorough  dusting  he  found  the  object  to  be  his  long 

164 


ITS  ART,  STORY  AND  SYMBOLISM 

lost,  gold  medal  Hercules.  Another  irony  handed 
out  by  Fate — that  he  should  have  walked  into  the 
basement,  with  assured  riches  and  success  in  his 
arms,  to  find  upon  the  dust  heap  the  most  honored 
work  of  his  more  youthful  esthetic  dream.  Great 
wealth  came  to  him,  and  he  drifted  far  away  from 
the  painter's  field  as  an  active  laborer,  but  he  was 
always  fond  of  it,  and  used  much  of  his  wealth  in 
collecting  the  beautiful  things  which  he  kept  about 
him.  Morse  has  three  pictures  in  the  gallery.  The 
portrait  of  Mrs.  Oliphant  is  fine  and  to  look  at  the 
kind,  brown-eyed  old  lady  is  to  love  her. 

One  other  great  inventor  forsook  the  artist's 
dream  to  become  commercially  great.  Robert 
Fulton,  of  steamboat  fame,  was  no  mean  painter. 

After  West  and  Copley  and  their  pupils  (some  of 
whom  have  been  named),  came  Trumbull,  AUston 
and  Vanderlyn,  and  they  filled  a  place  all  their  own, 
and  impossible  to  trace  here.  In  the  print  rooms  of 
the  Palace  of  Fine  Arts  some  of  their  engravings 
may  be  seen  with  interest,  and  of  course  they  had 
their  place  as  painters,  too. 

Following  these  came  the  last  of  the  men  who  re- 
mained under  the  influence  of  the  English  figure 
painters — Sully,  Inman,  Harding  and  Elliot.  De- 
lightful examples  of  each  of  these  men  hang  in 
these  American  rooms. 

165 


Mrs.  Ollphant — Morse 
166 


ITS  ART,  STORY  AND  SYMBOLISM 

Sully's  picture  of  Mrs.  Kemble  is  well  known,  and 
she  graces  her  corner  from  her  gilded  frame  with  a 
smiling  happiness. 

Elliot  has  some  most  fascinating  portraits,  those 
of  Col.  McKenny  and  Mrs.  Mary  A.  Goulding 
being  among  the  finest  in  the  American  collection. 

Eastman  Johnson's  portraits  and  "Drummer 
Boy"  show  well  his  place.  Woodville  and  Mayr, 
with  their  pictures  containing  a  good  touch  of  real- 
ism and  kindly  humor,  introduce  some  work  upon 
the  line  of  more  intimate,  narrative  style,  embracing 
a  suggestion  of  sly  fun,  a  characteristic  of  much  of 
the  subject  matter  of  American  art  of  this  type. 

For  the  sake  of  keeping  up  with  our  history  some- 
what chronologically,  we  will  return  in  our  study 
of  this  early  American  work  and  bring  up  the  land- 
scape painting. 

Landscape  painting  has  been  a  product  of  the 
brushes  of  the  painters  of  Northern  Europe  almost 
entirely.  Italy,  with  its  wealth  of  natural  beauty 
and  its  great  art  history,  has  virtually  no  part  in  this 
phase  of  the  painter's  expression.  It  is  strange  in- 
deed that,  with  the  numerous  great  artists  given  to 
the  world  by  Italy,  none  of  this  available  material 
has  ever  been  given  the  prominence  that  came  to 
it  in  the  northland.     Perhaps  the  cold,  rigorous  in- 

167 


THE  DREAM  CITY 

clement  winter,  which  locks  in  a  snowy,  icy  mantle 
all  earth's  beauties,  just  to  burst  out  more  joyously 
and  wondrously  with  the  approach  of  spring,  is  one 
reason  for  the  great  love  of  earth,  and  the  seasonal 
changes  of  the-  earth  which  possess  these  northmen. 
Be  that  as  it  may,  the  fact  remains  that  Italy  had 
to  deal  with  the  old  masters  who  were  altogether 
absorbed  in  humanity,  its  burdens  and  woes,  its  joys 
and  happiness,  its  love  and  hatred,  its  wars,  its  faith 
and  its  religion.  These  have  been  left  to  us  in  every 
form  upon  the  great  Italian  canvases.  It  remained 
for  the  Flemish  and  Dutch  to  spring  upon  the  art 
world  the  great  possibilities  and  fascinating  beau- 
ties of  landscape,  especially  in  its  minute  details. 
Their  little  flat  country,  much  of  it  wrested  from 
the  sea,  is  precious,  as  small  things  won  at  cost  of 
great  toil  are  always  precious.  This  the  Nether- 
landers  show  by  the  love  that  manifestly  lingers 
over  the  smallest  details  of  their  land,  their  sea, 
their  sky.  But  while  these  men  have  given  us  many 
excellent  things,  it  was  not  until  the  nineteenth  cen- 
tury that  modern  landscape  came  into  its  own,  and 
the  whole  trend  of  landscape  painting  was  turned 
into  lines  of  discovery  which  led  to  the  marvelous 
things  of  yesterday  and  today. 

The  landscape  work  of  these  earlier  men  was 

168 


ITS  ART,  STORY  AND  SYMBOLISM 

under  traditional  treatment.  They  painted  their 
canvas  first  black  and  white,  then  with  red  made 
the  deep,  rich  brown  which  they  built  upon.  They 
could  have  drawn  the  blinds  of  their  studios, 
lighted  their  lights  and  painted  their  landscape,  so 
far  as  the  necessity  for  seeing  nature  was  concerned 
in  their  rendition.  They  knew  by  custom  what 
made  an  acceptable  picture,  and  we  have  them  by 
the  dozen. 

They  painted  their  pictures  without  studying 
nature,  without  knowing  her  moods,  and  without 
the  technical  knowledge  necessary  to  reproduce  the 
condition  presented  by  the  sun  and  shadow,  which 
is  an  all-powerful  factor  in  the  great  world  outside. 
They  painted  this  landscape  from  memory  without 
having  spent  sufficient  time  upon  their  subject  to 
appreciate  that  they  painted  a  shadow  for  a  sub- 
stance. The  result  was  a  landscape  which  had  rep- 
resentation but  little  truth  in  it;  part  of  this  was 
because  of  the  traditional  method  of  painting.  The 
whole  canvas  was  covered  with  black  and  then  the 
light  spots  were  given  some  white,  and  the  rest  was 
treated  to  a  coating  of  red  paint  put  on  over  the 
black  paint,  which  gave  them  the  deep  rich  brown 
they  loved  to  work  from. 

They  painted  traditional  pictures;  they  did  not 

169 


THE  DREAM  CITY 

paint  pictures  of  the  woodland,  meadow,  hill,  val- 
ley, lake,  stream,  mountain,  field  and  sea,  as  our 
artists  do  today.  Theirs  was  a  composed  picture, 
with  traditional  handling,  popular  because  of  its 
traditional  perfection  which  in  no  way  violated  the 
taste  of  those  who  knew  no  other  thing.  The  two 
Gainsborough  landscapes  (2917)  and  (2903)  and 
the  Old  Crome  (2891),  in  room  6;^,  are  typical  ex- 
amples of  these  landscapes  as  they  were  painted  by 
the  English  painters  at  this  time. 

John  Constable,  a  young  man,  raised  near  his 
father's  mill,  acquainted  with  the  trees,  stream  and 
wood  surrounding  the  mill,  was  moved  to  portray 
these  things  as  he  saw  them  and  he  proceeded  to  go 
out  of  doors  to  paint  them.  Without  recognition 
in  his  own  country  and  unknown,  he  was  working 
quietly,  when  six  of  his  pictures  were  taken  over 
and  shown  at  a  French  exhibition.  The  eyes  of 
the  keen,  appreciative  French  artists  detected  very 
quickly  the  new  note  in  the  work  and  they  pro- 
ceeded to  investigate  the  method  of  this  English- 
man. The  French  were  painting  classical  scenes ; 
beautiful  green  stretches  of  land,  tumbling  marble 
temples  and  columns,  with  the  flute-playing  shep- 
herd and  the  dancing  shepherdess,  done  in  bits  of 
bright    color    which    lent    themselves    well    to    the 

170 


ITS  ART,  STORY  AND  SYMBOLISM 

scene.  A  group  of  young  men,  who  were  just  be- 
ginning to  paint,  were  well  aware  that  this  was  not 
nature  as  it  appeared  to  them,  they  knew  that  this 
subject  matter  was  forced  and  false;  but  they  had 
not  determined  upon  any  other  course  of  action. 

Upon  finding  that  these  pictures  of  Constable 
were  produced  from  nature,  were  painted  as  the 
artist  constantly  observed  what  he  painted,  and  that 
the  artist  had  painted  out  in  the  open,  these  newly 
impressed  men,  Corot,  Rousseau,  Millet,  Troyon, 
Dupre,  Daubigny,  Diaz  and  others  took  themselves 
and  their  easels  out  into  the  forests  and  fields  to 
paint,  with  the  result  that  we  have  one  of  the  great- 
est changes  imaginable  taking  place  in  a  few  years, 
and  we  have  the  birth  of  one  of  the  most  sweeping 
innovations  the  history  of  art  has  been  subjected 
to  up  to  this  time  in  its  history — which  is  1832. 

While  Constable  did  not  carry  the  departure  1:0 
the  success  achieved  in  France,  without  him  there 
might,  and  probably  never  would  have  been  a  "plein 
air"  school,  and,  as  it  was,  we  find  these  Frenchmen 
forsaking  Paris — moving  out  to  the  tiny  village  of 
Barbizon,  on  the  edge  of  the  Fontainebleau  forest, 
and  there  delving  into  the  study  of  the  moods  of  na- 
ture until,  with  the  suggestions  made  by  the  man 
across  the  Channel,  the  world  was  given  some  of 

171 


THE  DREAM  CITY 

the  greatest  landscapes  ever  seen,  and  a  knowledge 
and  skill  was  developed  which  has  given  a  universal 
change  to  the  achievements,  taste  and  execution 
required  for  modern  landscape. 

The  Barbizon  school  gave  to  landscape  painting 
the  fine  atmospheric  conditions  which  make  almost 
indescribable  the  beauties  of  Corot,  and  other  fun- 
damentals which  are  followed  largely  today.  They 
discovered  the  function  of  the  eye,  and  composed 
their  picture  in  accordance  with  the  working  of  the 
eye.  They  give  a  focal  point  which  attracts  the  eye 
immediately,  surrounding  this  is  an  area  which  is 
painted  clearly  and  is  to  be  seen  plainly;  then  the 
edge  of  the  picture  becomes  dim  and  more  or  less 
indistinct.  This  composition  is  based  exactly  upon 
the  plan  of  the  eye's  functioning.  Corot's  picture 
No.  4025,  gallery  92,  is  a  fine  example  of  this  style 
of  picture  building. 

When  painting  out  of  doors  each  painter  soon 
found  that  there  were  periods  of  the  day  when  he 
was  at  his  best.  This  was  leading  up  to  a  realiza- 
tion that  the  sun  and  shade  were  constantly  making 
new  conditions ;  and  that  each  change  made  vir- 
tually a  new  picture.  Corot  found  his  time  to  be 
the  early  morning  and  late  afternoon  effects ;  he 
began  painting  often  at  4  a.  m.,  claiming  that  by 

172 


ITS  ART^  STORY  AND  SYMBOLISM 

9  a.  m.  he  saw  more  than  he  could  put  into  his 
picture.  Rousseau  painted  the  light  through  the 
trees  at  the  brightest  period  of  the  day.  Troyon 
painted  the  shadow  and  shade  of  the  day,  with  his 
cattle  breathing  of  plenty  and  contentment.  Millet 
took  the  fields  and  the  peasants  when  at  work. 

By  changing  the  treatment  of  their  canvas  they 
were  able  to  get  atmosphere  into  their  landscape 
and  in  doing  this  they  soon  learned  to  paint  a  figure 
into  their  landscape  without  making  it  seem  forced, 
but  partaking  naturally  of  its  environment. 

A  group  of  earnest,  conscientious  men,  they 
groped,  studied  and  progressed  until  the  world, 
while  it  began  by  scoffing,  had  to  face  about  and 
take  them  at  their  true  worth  eventually. 

Rousseau  was  the  acknowledged  leader,  whose 
art  is  distinguished  not  only  by  truth  to  nature,  but 
by  giving  more  or  less  expression  to  emotion  and 
moods  possessed  of  poetic  feeling.  Rousseau  has 
been  called  the  epic  poet  of  the  group,  and  Corot  the 
lyric. 

Perhaps  no  bit  in  the  history  of  painting  is  any 
more  interesting  than  this  of  the  Barbizon  school. 
These  men  who  worked  so  earnestly  received  very 
little  praise  from  the  public  for  years.  Together 
they  worked,  and  held  up  each  other's  hands,  so  to 

173 


THE  DREAM  CITY 

speak,  while  the  skeptical  mass  stood  by  laughing 
and  criticising  until  it  was  beaten  into  submissive 
approval.  Twenty  years  is-  a  long  time  to  serve  for 
an  ideal  in  the  face  of  no  appreciation,  yet  these  men 
did  it  even  longer,  suffering  while  they  served. 

The  life  of  each  man  in  this  group  is  fascinating, 
and  time  should  be  given  to  learning  something  of 
the  privation  they  endured  for  the  sake  of  their  ideal 
and  ambition,  which  was  leavened  all  the  way 
through  by  their  undying  and  untiring  love  for  their 
work. 

The  lesson  taught  by  this  experience  is  the  same 
one  mentioned  before.  The  people  should  withhold 
judgment;  the  people  should  wait;  the  pubhc  not 
being  painters  cannot  tell  what  the  immediate  re- 
sult even  of  failure  made  by  honest  endeavor 
may  mean.  When  these  men  struggle  for  years, 
earnestly,  without  approval,  it  must  be  realized 
that  they  are  desperately  determined  to  estab- 
lish great  truths — for  approval  and  appreciation  is 
almost  as  necessary  as  the  air  they  breathe  to  these 
sensitive,  temperamental,  high-strung  men,  who 
live  with  a  tenseness  never  appreciated  by  the  laity, 
and  who  quiver  under  the  lash  of  criticism. 

Several  of  these  forsook  traditional  or  classical 
ideals.     Millet  could  paint  the  nude  until  it  was  like 

174 


\ 


ITS  ART,  STORY  AND  SYMBOLISM 

nothing  ever  seen  before.  Because  it  was  tradi- 
tional, and  the  real  academic  way  to  study,  he  was 
taught  that  way  and  tried  to  paint  it,  feeling  that 
practice  would  make  perfect  and  skill  would  come 
with  perseverance.  One  day,  standing  in  front  of 
some  of  his  nude  pictures,  he  heard  a  University 
pupil  ask  another,  "Who  did  these  things?"  The 
answer  came  back,  with  a  promptness  which  sur- 
prised Millet  beyond  words,  "Oh,  Millet,  a  fellow 
who  can't  do  anything  else  but  paint  dainty  things 
in  this  fashion !"  Though  it  meant  privation  to  the 
extent  of  lessened  comfort  and  often  all  comfort. 
Millet  from  that  day  painted  the  thing  nearest  his 
heart — the  well-tilled  field  and  the  great,  muscular, 
toil-worn,  patient  peasant  who  lived  and  worked  in 
it.  Disapproval  finally  killed  Rousseau — and  they 
all  suflfeired  more  than  ever  can  be  described. 
Ignorance  is  the  most  cruel  thing  to  deal  with  in 
the  world ;  it  knows  no  mercy,  and  brings  all  to 
grief  who  are  driven  before  it,  and  these  men  suf- 
fered all  things  at  the  hands  of  those  unapprecia- 
tive  because  they  did  not  know. 

Thomas  Doughty,  born  in  1793,  was  the  first 
American  landscape  man.  Two  of  his  paintings 
hang  in  the  Historical  American  room.  They  are 
small  and  unpretentious  as  they  hang  high  up  on 

175 


THE  DREAM  CITY 

the  wall,  but  they  tell  an  interesting  fact.  Without 
a  hint  from  England,  without  a  knowledge  of  tra- 
dition, this  man  went  out  of  doors  for  his  picture, 
and  the  observer  will  see  the  excellent  judgment  dis- 
played in  the  selection  of  the  subject  matter:  good 
distance,  fine  reflections,  and  an  atmosphere  not  to 
be  found  in  the  greater  Gainsborough  hanging  on 
the  English  wall,  are  in  evidence  in  both  of  these 
little  pathfinders  of  Doughty.  Gallery  60,  Nos. 
2777,  2778. 

If  not  of  and  with  him,  came  immediately  the 
men  of  the  Hudson  River  school — Kensett,  Cole  and 
Durand.  These,  in  their  own  way,  carry  on  the 
landscape  work.  Early  influences  tell  greatly  in 
their  painting.  Durand,  having  been  an  engraver, 
gives  infinite  pains  to  detail  when  as  a  man  of  ma- 
ture years  he  took  to  painting.  Some  of  his  pic- 
tures show  the  influence  of  French  Claude — Wat- 
teau,  Pesne  and  Lancret,  with  Greek  temples,  danc- 
ing shepherds  and  shepherdesses — but  generally 
Durand  keeps  much  nearer  to  the  truth.  He  was  a 
painter  of  experience  before  he  ever  went  to  Eu- 
rope, and  his  knowledge  and  love  of  nature  kept  him 
nearer  the  truth  than  might  have  been  expected. 

"The  Morning  of  Life  (2740,  room  59)  is  a  fine 
example  of  the  over-filled  canvases  of  these  early 

176 


THE  DREAM  CITY 

men.  "Thunder  Storm ;  Catskills"  shows  much 
better  composition,  greater  strength  and  better 
work  in  every  way.  Durand  painted  so  many 
years  that  the  progress  and  skill  of  the  later  work 
is  marked. 

He  was  influenced  by  his  study  in  England,  which 
he  visited,  and  also  in  Germany  and  Italy.  There 
is  fine  growth  and  development  displayed  between 
the  two  pictures  of  his,  which  hang  in  the  American 
section  in  the  Fine  Arts. 

Kensett  and  Cole  were  his  contemporary  painters, 
who  follow  with  less  skill  in  some  respects,  but  who 
have  their  place  which  history  thoroughly  respects. 
These  men  all  spent  time  in  Europe ;  all  came  home 
to  paint,  and  were  the  first  of  a  large  group  of 
painters  only  a  few  of  whom  can  be  spoken  of  here. 

Moran,  Church  and  Bierstadt  were  the  three  who 
became  deeply  impressed  with  the  wonders  of  this 
great  land  of  ours,  and  who  came  West  with  the 
opening  of  the  railroad  in  1864  and  painted  the 
Grand  Canyon,  Yellowstone,  Yosemite,  Rocky 
Mountains  and  Canadian  Rockies.  So  enthusiastic 
were  they  that  nothing  staggered  them,  and  with  the 
assurance  of  a  creator  they  surely  attempted  the  in- 
finite in  their  portrayals  of  these  greatest  scenes  in 
the  world.    Yet  their  work  has  its  place,  even  though 

178 


ITS  ART,  STORY  AND  SYMBOLISM 

it  is  a  fact  that  the  subjects  were  treated  from  the 
standpoint  of  the  camera  rather  tlian  from  the 
power  of  the  human  eye's  grasp. 

It  was  a  httle  later,  when  Homer  Martin,  George 
Inness  and  Wyant  came  into  their  maturity,  that  the 
excellence  of  their  theory  and  the  fine  examples 
they  were  able  to  give  the  world  put  the  landscape 
painting  of  the  United  States  upon  an  elevation 
which  led  almost  immediately  to  the  heights  from 
which  it  has  never  descended. 

This  trio  of  earnest,  thoughtful  men  were  able  to 
take  in  the  fine  things  suggested  by  the  Barbizon 
group,  who  were  just  reaching  the  place  they  had 
for  years  deserved,  and  in  the  works  of  Martin, 
Inness  and  Wyant  we  have  our  gifted  American, 
with  all  that  is  cosmopolitan  in  him — which  seems 
to  make  a  most  unique  individuality;  able  to  catch 
ideas,  able  to  apply  new  theories,  but  at  no  time  be- 
coming a  feeble  imitator.  These  men,  each  in  his 
own  way,  has  adapted  all  he  could  from  these  great 
innovators,  and  we  have  our  American  Barbizon 
period  truly,  but  with  another  note  sounded  by 
these  followers. 

What  may  be  said  of  each  of  these  men,  in  a 
manner  may  be  said  of  all,  for  the  sake  of  a  clearer 
understanding   more    should   be   known — more    of 

179 


THE  DREAM  CITY 

their  sentiment  as  to  subject  matter,  as  to  the  aim 
of  an  artist,  and  to  the  position  art  may  fill. 

Inness  puts  these  things  into  language  admirably 
clear.  "The  purpose  of  a  painter  is  merely  to  re- 
produce in  other  minds  the  impressions  which  a 
scene  has  made  upon  him.  A  work  of  art  does  not 
appeal  to  the  intellect.  Its  aim  is  not  to  instruct,  not 
to  edify,  but  to  awaken  an  emotion ;  and  it  must  be 
a  single  emotion  if  the  work  has  unity,  as  every  such 
work  should  have,  and  the  true  beauty  of  the  work 
consists  in  the  beauty  of  the  sentiment  of  emotion 
which  it  inspires.  Its  real  greatness  consists  in  the 
beauty  of  the  sentiment  or  emotion  which  it  in- 
spires. Details  in  the  picture  must  be  elaborated  only 
enough  to  reproduce  fully  the  impression  which  the 
artist  wishes  to  reproduce.  When  more  than  this 
is  done,  the  impression  is  awakened  or  lost,  and  we 
see  simply  an  array  of  external  things  which  may 
be  very  cleverly  painted  and  may  look  very  real,  but 
which  do  not  make  an  artistic  painting.  The  effort 
and  difficulty  of  an  artist  are  to  combine  the  two, 
namely,  to  make  the  thought  clear  and  to  preserve 
the  unity  of  impression." 

This  is  where  modern  art  departs  altogether  from 
the  story-telling  pictures  of  the  Church,  and  where 
the  artist's  desire  to  express  an  emotion  is  the  sole 

180 


THE  DREAM  CITY 

aim.  It  is  here  that  fully  two-thirds  of  the  public 
cease  to  follow  and  begin  to  find  fault,  failing-  to 
appreciate  that  story-telling  is  the  function  of  lit- 
erature in  these  days  of  printing,  and  no  longer 
that  of  the  painter. 

The  row  of  paintings  by  Wyant  and  Inness  will 
give  proof  positive,  however,  that  an  emotion  as  con- 
veyed by  these  men  and  shown  in  their  pictures  is  a 
really  great  pleasure  and  a  joy  from  first  to  last  as 
the  observer  stands  before  these  bits  of  nature 
given  by  these  men. 

"The  Windy  Day"  (No.  2541,  room  54)  is  a  fine 
thing,  very  different  in  effect  from  the  crowded 
overfull  canvases  of  some  of  the  men  just  before 
him.  A  little  marsh-grown  pool,  a  beautiful  tree, 
the  horizon,  broken  by  small,  thin  trees,  all  done  in 
greyish  green  is  a  poetical  landscape  and  one  the 
most  conservative  must  accept. 

The  paintings  of  Homer  Martin,  which  hang  in 
the  gallery,  are  less  joyful,  and  not  in  the  style  of 
Inness  and  Wyant  nor  in  the  style  of  Martin  after 
he  began  to  appreciate  the  Barbizon  men  fully.  It 
is  a  delightful  vista  these  men  bring  us  into,  and 
America  will  always  point  with  pride  to  their  work. 

Following  these  men,  such  an  array  presents  it- 
self that  one  wishing  to  give  a  place  to  each  is 

182 


ITS  ART,  STORY  AND  SYMBOLISM 

overwhelmed.  Yet  nearly  every  name  is  present 
in  the  lune  Arts  catalogue,  and  it  is  with  genuine 
regret  that  many  are  only  mentioned  who  should 
have  pages  devoted  to  them. 

Winslow  Homer  and  John  La  Farge  should  have 
each  a  book,  and  so  should  others,  but  something 
must  be  trusted  to  the  aroused  interest  of  the  visitor, 
who  will  make  an  opportunity  to  learn  something  of 
these  painters,  but  as  many  as  possible  shall  be  men- 
tioned separately  here.  For  the  sake  of  knowing 
who  the  younger  men  of  the  early  eighties  were, 
this  list  of  names  is  given  for  consideration. 

Robert  Swain  Gifford,  William  Sartain,  Louis  C. 
Tiffany,  J.  Alden  Weir,  Will  H.  Low,  William  M. 
Chase,  J.  H.  Twachtman,  Abbott  H.  Thayer,  Fran- 
cis Lathrop,  and  D.  Maitland  Armstrong. 

And  just  a  little  later  come  another  crowd  to 
claim  immediate  attention : 

T.  A.  Bridgman,  Edwin  H.  Blashfield,  George 
de  Forest  Brush,  Thomas  Allen,  J.  Carroll  Beckwith, 
Robert  F.  Blum,  Kenyon  Cox,  Bruce  Crane,  Frank 
Duveneck,  Birge  Harrison,  Frank  Fowler,  George 
Inness  Jr.,  H.  Bolton  Jones,  George  W.  Maynard, 
Frank  D.  Millet,  John  H.  Niemeyer,  Eastman  John- 
son, Walter  L.  Palmer,  Will  T.  Smedley,  Dwight 
W.  Tyron,  Elihu  Vedder,  F.  P.  Vinton,  Geo.  Fuller, 

183 


THE  DREAM  CITY 

Thomas  Hovendin,  Alexander  Wyant  and  Theo- 
dore Robinson. 

These  men,  many  of  them  living  today,  have 
been  the  tireless  workers  who  have  brought  our  art 
up  to  the  high  standards  maintained  by  contempora- 
neous American  art,  and  to  the  place  recognized  as 
one  of  excellence  by  the  whole  world. 

So  far,  in  sketching  American  tendencies  in  art, 
only  those  of  English  and  French  influence  have 
been  considered ;  but  among  these  names  are  several 
who  come  back  with  the  Munich  training.  It  is 
with  great  interest  that  one  turns  to  Currier,  Du- 
veneck,  Alexander,  Shirlaw  and  Chase,  each  of 
whom  is  represented  in  the  collection. 

The  French  influence  has  tended  to  brighten  and 
lighten  the  canvases;  no  deep  rich  browns  to  give 
contrast  to  the  pale  cream  and  pink  flesh  tints  of  the 
human  face ;  no  dark  back  ground  to  lend  its  strik- 
ing support  as  the  old  Italian,  Spanish  and  Dutch 
masters.  In  Munich,  however,  art  has  been  grow- 
ing, and  in  the  various  pictures  of  these  men  one 
can  see  living  again  the  beauties  of  the  old  masters. 
This  influence  was  set  abroad  by  the  Munich  teach- 
ers, who  painted  on  grounds  of  broad,  warm  bitu- 
men, and  with  strong,  sweeping  brush-work  they 
achieved  some  splendid  effects,  in  a  superb  style. 

184 


ITS  ART,  STORY  AND  SYMBOLISM 


The  Impressionists. 

Progress  comes  by  constant  effort,  keen  observa- 
tion, a  prophetic  instinct  to  detect  the  new  note 
when  it  is  sounded,  and  an  appreciation  of  the 
vakie  of  the  new,  as  it  takes  its  place  beside  the 
old.  The  Barbizon  men,  Corot,  Rousseau,  Millet, 
Dupre,  Troyon,  Diaz,  and  Daubigny  at  the  instiga- 
tion of  the  English  Constable,  went  into"  the  forest 
and  the  open,  to  paint.  They  discovered  many 
things  unknown  to  the  landscape  painter  previous- 
ly, and  brought  about  changes  in  the  technic  and 
composition  of  the  landscape.  The  tumbling  Greek 
temples,  the  dancing  nymphs,  the  lute-playing 
shepherds  disappear  from  the  French  pictures  and 
the  actual  beauty  of  the  landscape  is  left  to  reign 
supreme.  It  took  the  world  nearly  forty  years  to 
appreciate  the  wonderful  gift  the  Barbizon  men 
brought  into  the  landscape  painting ;  it  did,  how- 
ever, comprehend  something  of  it  soon  enough  to 
be  up  in  arms  at  the  innovations  of  the  next  pro- 
phetic group  who  came  with  visions  and  ideals  to 
establish. 

The  succeeding  contemporaries,  earnest,  talented, 

185 


THE  DREAM  CITY 

anxious  for  an  understanding-  of  the  conditions 
surrounding  them,  without  quite  reahzing  the  im- 
port of  their  effort,  begin  to  work  and  experiment 
with  other  things  and  end  by  bringing  actual  science 
into  their  painting. 

Manet,  Monet,  Degas,  Renoir,  Pissaro,  Sislcy, 
Bertha  Morisot,  Eva  Gonzales,  Guillemet  are  a 
few  of  the  old  guard  of  Impressionists. 

Manet  was  the  greatest  of  these  men ;  he  had 
studied  with  Couture,  the  best  teacher  in  Paris,  and 
had  traveled  in  Italy,  Germany  and  Holland. 
Manet's  manner  was  imbued  with  that  of  the  Span- 
ish and  Dutch  masters  whom  he  had  studied  in 
the  Louvre,  and  in  their  own  countries.  As  time 
went  on  Manet  began  to  depart  from  the  traditional 
way  of  painters  and  he  is  the  first  to  place  pure 
color  side  by  side,  with  no  blending,  no  shading, 
no  softening  effect.  His  picture  in  the  French 
Building,  "In  the  Balcony,"  shows  this  plainly. 
Manet  was  battling  his  way  into  notice  because  of 
his  unpopular  change  in  handling  subject  matter 
when  another,  bearing  a  name  so  like  his  appeared, 
that  Manet  suspected  the  new  comer  of  rather  toy- 
ing with  the  similarity.  Monet  was  the  jnan.  This 
made  Monet  so  indignant  that  ever  after  he  signed 

186 


ITS  ART^  STORY  AND  SYMBOLISM 

himself  Claude  Monet,  that  there  might  be  no  mis- 
taken identity. 

This  man  was  a  great  innovator.  He  had  wanted 
to  become  an  artist  and  had  met  with  the  usual 
objection  from  his  parents.  They  offered  to  buy 
him  free  from  his  military  service,  but  when  they 
found  it  would  be  only  to  paint  the  sooner,  they 
allowed  him  to  enter  the  army.  He  was  sent  to 
Africa,  where  he  simply  drank  in  color  and  sun- 
light. After  two  years  of  the  army  his  health 
failed  and  Monet  returned  to  Paris  and  began  to 
study  in  Gleyre's  studio.  He  was  literal,  and  was 
painting  the  scene  as  he  saw  it ;  lifting  up  his 
voice  against  the  poetry  and  romantic  treatment 
of  Corot.  His  picture,  No.  2811,  room  61,  shows' 
how  heavy  and  dense  he  was  willing  to  put  things 
down  in  his  frantic  effort  to  be  literally  true.  The 
green  is  solid  and  massed ;  the  fiowers  are  reddened, 
sticky  things,  with  no  lightness;  the  water  is  heavy; 
the  shadows  dense  and  black ;  the  picture  is  so  solid 
it  seems  almost  sinking  of  its  own  weight  through 
the  frame. 

A  series  of  lectures  which  had  been  given  at  the 
Columbia  University,  in  New  York,  by  Professor 
Rood,  were  published  about  this  time,  giving  the 
theory  of  reflected,  prismatic  light.    This  American 

187 


THE  DREAM  CITY 

professor  had  selected  two  or  three  colors  which 
were  mixed  together,  as  a  painter  mixes  them  on 
his  palette,  the  color  was  then  applied  to  a  white 
card.  Then  he  took  the  same  colors  in  the  same 
proportion  as  before  and  without  mixing  placed 
them  on  a  white  disc ;  and  when  this  disc  was  re- 
volving so  that  the  colors  blended  into  one  color 
corresponding  with  that  obtained  by  mixing 
them,  the  result  was  more  intense,  for  it  contained 
more  light.  Monet,  who  wished  to  represent  light, 
took  very  seriously  the  suggestion  contained  in 
these  experiments,  and  he  began  to  apply  the 
idea  to  his  painting  and  from  this  time  on  his 
work  was  one  great  experiment,  seeking  in  every 
manner  to  introduce  the  theory  into  his  work  in 
a  convincing  way. 

Nothing  more  interesting  than  the  Monet  wall, 
in  room  6i,  exists  at  the  Exposition,  its  study  is 
essential  if  the  student  would  understand  and  ap- 
preciate the  enormous  gift,  this  knowledge  properly 
applied,  meant  to  modern  art.  The  efforts  of  Monet 
can  be  traced  by  taking  his  pictures  in  this  series 
according  to  the  following  numbers:  2811,  2813 
2808,  2809,  2812  and  2814. 

The  way  Monet  went  about  securing  this  has  led 
people  to  believe  that  the  manner  in  which  he  put 

188 


ITS  ART,  STORY  AND  SYMBOLISM 

his  paint  on  the  canvas  was  the  impressionist  idea 
he  achieved.  This  is  not  true;  the  theory  being 
that  the  primary  colors  laid  side  by  side,  when 
given  distance,  will  re-compose  themselves  into  a 
better  secondary  color  than  if  they  had  been  mixed 
to  obtain  the  complimentary  color.  To  do  this 
without  mixing  the  colors  Monet  resorted  to  new 
ways  frequently.  He  painted  with  a  dash,  an 
elongated  stroke  the  width  of  the  brush ;  he  painted 
in  little  squares,  laying  the  pure  paint  side  by  side 
in  this  way;  he  painted  in  splotches,  as  the  hay- 
rick is  painted;  and  he  painted  in  tiny  points.  No 
one  can  say  that  any  one  of  these  methods  is  ab- 
solutely pleasing;  but  no  one  can  look  at  them  and 
not  admit  that  the  paint  applied  to  the  canvas  in 
this  manner  did  bring  a  vibration,  a  breaking  up 
of  the  solid,  massy  landscape  and  put  into  it  some- 
thing which  had  never  been  there  before.  Monet 
went  further  in  his  discoveries.  He  worked  con- 
stantly with  the  idea  of  sunshine  in  his  mind ;  study- 
ing always  to  secure  it  in  his  work.  With  this 
intent  he  went  from  place  to  place  searching  for  the 
sunny  climes  and  working  hard,  studying  conditions 
and  the  surrounding  difficulties.  Gradually  it  was 
borne  in  upon  him  that  the  passing  hours,  the 
changing  position  of  the  sun,  which  brought  ever- 

189 


THE  DREAM  CITY 

changing  shadows,  could  be  studied  anywhere,  and 
then  he  began  painting  his  series  of  pictures  of  the 
same  subject.  He  painted  the  facade  of  the  Rouen 
Cathedral  forty  times ;  he  painted  the  hayrick 
nearly  as  many;  he  painted  the  lily-pond  in  his 
yard ;  the  poplars  on  the  Seine ;  a  Thames  series, 
and  a  series  of  the  beautiful  old  Norman  church. 
In  watching  the  sun  and  shadow  and  painting 
what  he  saw,  he  frequently  spent  no  longer  than 
thirty  minutes  upon  a  canvas,  finding  that  by  that 
time  the  change  had  brought  about  conditions  to 
be  embodied  in  another  picture.  By  this  careful 
study  of  the  various  phases  of  light  the  time  of 
day  has  become  evident  in  many  modern  landscape 
paintings  and  it  is  possible  to  simply  flood  a  canvas 
with  sunlight.  So  universal  has  the  knowledge 
of  these  conditions  become  that  scarcely  any  work 
today  comes  to  us  that  is  not  influenced  to  a  greater 
or  less  degree  by  the  work  of  these  impressionists. 
The  group — Pissaro,  Sisley,  Renoir  and  others — 
were  loyal  in  every  way ;  honest,  and  determined 
to  carry  their  work  on  in  the  manner  they  believed 
in.  They  sufi^ered,  and  often  hungered ;  their  pic- 
tures were  hard  to  sell  at  five  dollars  where  today 
they  bring  twenty-five  thousand  and  more ;  but  by 
way  of  the  earnest  men  and  women  we  have  mod- 

190 


ITS  ART,  STORY  AND  SYMBOLISM 

ern  landscape  which  is  the  greatest  achievement  in 
the  last  forty  years. 

The  pictures  of  Boudin,  the  teacher  of  Monet, 
hang  in  room  6i,  wall  D.  On  wall  C  hang  the 
works  of  Sisley,  Renoir  and  Pissaro,  all  intimate 
associates  of  Monet  and  all  intensely  interested  in 
the  development  of  the  theory  of  the  light  as  held 
by  Monet.  Sisley  was  born  in  England  of  French 
parents ;  his  people  had  some  means  and  he  was 
more  like  Monet  in  experience  than  the  other  men. 
His  pictures  seem  today  like  finest  harmonies;  but 
he  had  his  share  of  abuse  for  his  lilac  and  rose 
tones.  Sisley  had  the  feeling  for  light  in  the 
highest  degree,  he  saw  and  caught  the  laughing 
moods  of  nature.  He  painted  simple  scenes  of 
rivers,  of  the  country  with  its  snow,  its  flowers  and 
its  spring  beauties.  Sisley  was  always  poor,  but 
always  busy,  always  plodding.  He  lived  his  last 
twenty  years  at  Moret,  dying  there  in  1899. 

Renoir  was  the  son  of  a  tailor  at  Limoges ;  they 
were  poor  and  the  younger  Renoir  earned  his  liv- 
ing by  painting  portraits.  He  was  always  hopeful, 
gay,  happy  and  witty ;  Renoir  was  a  dreamer,  he 
was  sensual,  all  nerves,  feeling  the  joy  of  life  he 
made  a  fairyland  and  a  fete  of  Nature.  His  sub- 
jects lie  well  within  the  domain  of  grace,  given  in 

191 


THE  DREAM  CITY 

fanciful  ways  and  with  changing  moods,  more  or 
less  unfinished,  but  always  with  his  own  mark  upon 
it.  After  1873  Renoir  went  south,  and  the  journey 
to  the  numerous  Italian  masters  resulted  in  his  mak- 
ing a  very  earnest  study  of  the  figure  for  two  years, 
after  which  time  his  manner  of  handling  his  work 
changed  materially. 

Pissaro  was  forty  years  of  age  before  he  came 
fully  into  sympathy  with  the  Impressionists.  He 
was  slow  to  take  up  the  new  ideas  and  almost 
academic  in  his  drawing,  he  stayed  always  on  the 
safe  side,  he  was  never  extravagant.  Nevertheless 
sailing  was  not  easy  for  him  on  this  Impressionists' 
sea  and  it  was  only  after  years  of  misery  that  com- 
parative ease  came  to  him.  When  sixty-six  years 
of  age  he  had  serious  trouble  with  his  eyes ;  this 
was  aggravated  by  dust  so  that  painting  was  only 
possible  from  a  window  where  he  had  shelter. 
Paris  called  him  the  "grand  old  man"  when  he  was 
seventy ;  he  died  in  1903. 

Bertha  Morisot,  who  married  Monet's  brother, 
and  Eva  Gonzales  were  the  women  of  this  group, 
together  with  Mary  Cassatt,  the  American  woman 
spoken  of  elsewhere. 

They  were  an  earnest,  persevering,  energetic 
company     of    painters ;     they     stood    shoulder    to 

192 


ITS  ART,  STORY  AND  SYMBOLISM 

shoulder,  experimented  together,  and  finally  gave 
the  world  more  light  and  more  help  than  was  ex- 
pected when  they  were  received  by  the  hysterical 
laughter  of  the  Parisians  in  1863  when  Napoleon 
III  permitted  them  to  exhibit  in  the  same  building 
with  the  salon  under  the  name  of  "The  Refused." 
They  have  won  the  respect  of  the  world  of  artists, 
made  a  place  for  themselves  and  their  theories,  done 
away  with  heavy,  dense  shadows  for  all  time,  put 
sunshine  and  time  into  the  landscape — no  small 
thing  to  have  accomplished.  They  refused  to  be 
bound  by  conventional  laws,  insisting  upon  their 
right  to  investigate  in  their  own  manner ;  they  were 
ridiculed  and  called  "anarchists  of  the  brush,"  but 
they  did  succeed. 

What  they  revealed  of  truth  lives  on,  they  are 
an  ever-present  influence  in  modern  work ;  the  value 
placed  upon  their  canvases  increases  with  time,  the 
critics  are  silent  and  it  would  seem  that  they  have 
truly  "come  into  their  own." 


193 


194 


ITS  ART,  STORY  AND  SYMBOLISM 

In  room  57  Theodore  Robinson  has  a  splendid 
collection  of  pictures ;  giving  a  fine  idea  of  this 
work  and  how,  while  under  the  influence  and  guid- 
ance of  Monet,  he  evolved  his  own  technique  and 
was  able  to  take  the  theory  of  Monet  and  use  the 
idea  by  another  method  altogether.  After  studying 
the  hayrick  of  Monet  it  is  particularly  interesting 
to  study  Robinson's  "Girl  in  the  Sunlight."  With- 
out the  little  patchy  strokes  of  paint  used  by  Monet, 
Robinson  has  just  as  truly  placed  his  girl  in  the  sun 
as  Monet  has  put  his  hayrick  there.  If  Robinson 
could  have  been  spared  to  his  work  longer  he  would 
have  in  all  probability  achieved  a  great  deal  along 
these  lines ;  as  it  is,  he  has  given  the  world  some 
fine  work  along  new  lines  and  in  an  exceedingly 
pleasing  manner,  Robinson  was  a  conservative  fol- 
lower of  Monet  and  Childe  Hassam  was  the  fol- 
lower who  did  the  thing  in  the  Monet  manner. 


195 


THE  DREAM  CITY 


THE  TEN  AMERICAN   PAINTERS. 

In  1898  ten  of  our  American  men  joined  to- 
gether, and  for  mutual  benefit  and  inspiration 
formed  a  society  which  they  called  "The  Ten 
American  Artists."  There  were  seven  men  from 
New  York — Robert  Reid,  Edwards  Simmons,  Wil- 
lard  L.  Metcalf,  Thomas  W.  Dewing,  Childe  Has- 
sam,  J.  Alden  Weir;  and  J.  H.  Twachtman  and 
three  men  from  Boston — Frank  W.  Benson,  Ed- 
mund C.  Tarbell  and  Joseph  De  Camp.  John  H. 
Twachtman's  place  after  his  death  was,  taken  by 
W.  M.  Chase.  These  men  give  exhibitions  sup- 
porting high  ideals,  and  stand  for  the  best  things 
being  carried  on  in  American  painting  today. 
Each  man  has  his  own  peculiar  individuality,  and  as 
a  whole  they  make  a  comprehensive  group  of 
painters. 

Simmons.  Dewing  and  Benson  are  the  only  mem- 
bers of  "The  Ten"  not  represented  in  the  collection 
at  the  Fine  Arts.  Joseph  De  Camp  has  just  one 
picture,  a  portrait  of  his  friend  and  teacher,  Frank 
Duveneck. 

In  writing  of  them  and  their  work  it  would  be 
much  easier  to  give  each  a  chapter,  but  in  a  book  of 
this  size  space  forbids.     The  reader  will  be  inter- 

196 


ITS  ART,  STORY  AND  SYMBOLISM 

ested  enough  to  thoroughly  inform  himself  after 
having  seen  and  studied  their  paintings. 

Childe  Hassam  was  born  in  Boston,  Massachu- 
setts, in  1869.  He  studied  in  Boston  and  Paris. 
He  has  been  recognized  both  here  and  in  Europe 
and  is  one  of  our  most  uniquely  gifted  men.  Thirty- 
seven  canvases  hang  in  his  room,  giving  the  visitor 
a  splendid  idea  of  his  work.  To  look  at  his  pictures 
is  to  know  him  to  be  a  disciple  of  Monet — the  sun- 
light, warmth  and  brilliant  atmospheric  conditions 
all  tell  of  the  interest  he  has  taken  in  the  last  great 
strides  in  painting.  It  is  easy  to  find  the  charm  or 
the  subtlety  which  has  fascinated  him  in  his  work. 
In  one  picture  is  a  fine  dish  of  peaches,  which 
serve  for  still-life,  on  which  you  see  some  excellent 
work  done,  but  he  has  used  the  badly-creased  table- 
cloth as  an  excuse  to  play  in  light  and  shade  as  it 
goes  to  make  up  white.  Colored  shadows,  as  re- 
flected from  hanging  bunches  of  purple  grapes, 
serve  in  another  picture  for  the  motive.  Two  beau- 
tiful girls,  one  with  blue  and  red  reflections  and 
the  other  with  all  yellow,  have  their  statement  to 
make  in  two  other  pictures  that  hang  on  the  same 
wall. 

Hassam  has  worked  through  the  technique  of 
Monet  into  a  method  all  his  own,  but  it  seems  in 

197 


THE  DREAM  CITY 


198 


ITS  ART,  STORY  AND  SYMBOLISM 

some  instances,  the  "Aphrodite"  for  example,  that 
he  has  oiit-Moneted  Monet  in  the  persistent  struke 
with  which  he  has  made  the  sky,  sea,  rock, 
foHage  and  nude  figure.  There  is  great  charm 
in  the  picture,  however ;  the  distance  is  beautiful 
as  one  catches  the  line  where  sea  and  sky  meet. 
The  nude  form  is  fine,  too,  if  viewed  from  sufficient 
distance  to  soften  the  heavy  strokes  of  paint  upon 
the  body. 

The  picture  of  the  "Gloucester  Harbor"  is  charm- 
ing. It  is  painted  in  Hassam's  most  delightful  way. 
The  water  is  done  with  the  Monet  dash  stroke,  the 
white  of  the  canvas  being  allowed  to  show  through 
the  thin  blue.  The  trees  are  delicate  and  feathery 
compared  with  the  green  of  the  "Aphrodite"  The 
girl  on  the  bridge  is  well  painted  and  the  whole 
picture  has  a  quiet,  finished  appearance  which  wins 
for  it  hearty  approval. 

There  are  two  or  three  delightful  marines,  and 
only  one  of  his  famous  street  scenes  fails  us.  The 
California  hills  could  be  one  of  a  dozen  places  near 
Berkeley  or  over  in  Marin  county. 

He  paints  landscapes,  motives,  out-of-door 
nudes,  figure  compositions  and  murals — a  large 
range.  It  is  a  mistake,  however,  to  imagine  that  he 
finishes  his  pictures  out  of  doors.     He  is  far  too 

199 


ITS  ART,  STORY  AND  SYMBOLISM 

careful  for  that.    He  paints  tliem  many  times  before 
they  leave  his  studio. 


J.  Alden  Weir  has  something  of  the  same  charm 
in  the  landscapes  which  are  shown  of  his.  These 
men  are  all  in  sympathy  with  the  absence  of  the 
dark  shadows,  and  they  paint  their  pictures  in  deli- 
cate shades  that  seem  to  the  unpracticed  eye  the 
landscape  in  the  abstract,  the  landscape  idealized 
until  it  scarce  speaks  in  sufficient  color  language. 
But  no  one  can  trace  the  development  through  the 
Barbizon  school  and  on  through  Monet  without 
having  profound  respect  for  these  artists  who  have 
permitted  science  to  creep  into  their  work  to  the 
extent  shown  by  these  masters  of  landscape. 

J.  Alden  Weir  has  recently  been  elected  president 
of  the  American  Academy  of  Design,  and  it  is 
a  clear  case  of  "honor  to  whom  honor  is  due."  A 
pupil  of  Gerome,  a  student,  a  man  who  has  for 
years  been  in  the  advance  guard,  he  has  gained 
steadily  in  strength.  He  is  fond  of  subtle  harmo- 
nies, but  his  landscapes  are  surrounded  by  envel- 
oping atmosphere  and  abound  in  fascinating  charm. 

There  are  garden,  forest  and  meadow  lands  in 
his  pictures  shown,  and  two  delightful  scenes  of 
New  York  at  night. 

200 


ITS  ART,  STORY  AND  SYMBOLISM 

Willard  L.  Metcalf,  another  of  "The  Ten,"  was 
born  in  Lowell,  Massachusetts.  He  studied  in  the 
Boston  Museum  Art  School,  finally  going  to  Paris 
and  entering  the  Academie  Julian,  where  he  studied 
under  Boulanger  and  Lefebre  until  1889. 

Metcalf,  unlike  his  colleagues  of  "The  Ten,"  de- 
votes himself  almost  wholly  to  landscape,  with  only 
now  and  then  the  faint  suggestion  of  a  figure.  But 
such  landscapes !  They  are  the  scenes  he  has 
known  all  his  life,  and  they  are  rendered  with  the 
keenest  artistic  sympathy.  He  transcribes  the 
changing  beauty  of  hill,  wood,  meadow  and  sky, 
whether  touched  by  the  first  hint  of  Spring  or  the 
varied  glories  of  Autumn. 

The  artist  paints  almost  exclusively  New  Eng- 
land scenes,  often  choosing  Spring  efifects — and 
such  efifects !  One  only  needs  to  look  at  his 
"Blossom  Time,"  "Trembling  Leaves"  and  "Cherry 
Blossoms"  hanging  in  the  Palace  of  Fine  Arts  to 
appreciate  his  message.  "Blossom  Time"  (No. 
3774,  roojn  80)  is  an  ideal  Spring  picture.  The 
sidehill  is  shown  rich  with  fresh  green  of  early 
Spring.  The  trees  are  in  bloom  and  the  ground  is 
darkened  by  the  faint  shadow  of  these  feathering 
trees.  Sunlight,  blossoms,  rippling  water,  a  little 
boy,  a  dog — Metcalf  gives  everything  but  the  bird's 
song. 

201 


THE  DREAM  CITY 


202 


its  art,  story  and  symbolism 

Room  93. 

John  H'.  Twachtnian  has  a  whole  room  devoted 
to  his  paintings,  in  the  Palace  of  Fine  Arts.  His 
pictures  are  mostly  of  snow  scenes,  and  water  as 
it  flows  or  falls  through  snow.  They  are  delicate 
in  color  but  strong  when  action  is  a  part  of  the  com- 
position. His  dashing,  falling  streams  come  with 
might,  and  his  surf  is  full  of  telling,  vital  sugges- 
tions. While  the  color  scheme  as  he  uses  it  makes 
only  the  ghost  of  a  picture,  there  is  a  fascinating 
spell  thrown  out  that  compels  one  to  return  to  him 
again  and  again.  Kindly,  smiling,  thoughtful  and 
earnest  is  the  mood  breathed  into  his  canvases,  and 
one  knows  that  the  man  was  keenly  alive  to  the 
subtle  beauty  in  nature  and  that  he  understood  her 
most  elusive  phases. 

The  little  spring  gardens,  still  life,  and  country 
scenes  hanging  in  his  room  all  carry  out  the  deli- 
cate appreciation  the  man  had  for  his  art  and  nature 
as  he  saw  it. 


Robert  Reid  was  born  at  Stockbridge,  Massachu- 
setts in  1862.  He  began  to  study  at  the  school  of 
the  Boston  Museum  of  Fine  Arts.  After  several 
years  there  and  elsewhere  he  went  to   Paris  and 

203 


THE  DREAM  CITY 

Studied  in  the  Julian  Academy  with  Boulanger  and 
Lefebre.  Since  his  advent  into  the  reahii  of  mural 
painting,  Reid's  easel  pictures  have  been  compar- 
atively few.  He  paints  with  delight  bluish  color; 
he  has  become  known,  in  fact,  to  the  frequenter  of 
exhibitions  as  a  painter  of  subtle  color;  of  cross- 
lights,  of  reflections  that  displace  local  color,  of 
movement  and  shadow,  of  sunlight,  moonlight  and 
firelight,  combined  with  a  delicate  appreciation  of 
the  beauty  of  women — two  desirable  qualities  in  the 
making  of  portraits. 

The  mural  paintings  in  the  rotunda  of  the  Fine 
Arts  furnish  excellent  examples  of  his  mural  work, 
while  "The  Japanese  Screen,"  "The  Gold  Fish," 
and  "Autumn"  are  delightful  examples  of  his  easel 
work.  Reid  has  won  many  medals  both  at  home 
and  abroad.    So,  in  fact,  have  all  these  men. 


Room  79. 

William  Merit  Chase  is  another  member  of  "The 
Ten,"  another  man  of  note,  and  another  big 
teacher.  Chase  is  known  all  over  the  world.  He 
has  had  large  classes  in  New  York  for  years,  and 
only  a  year  ago  he  delighted  the  students  in  Cali- 
fornia by  permitting  a  few  of  them  to  study  with 

204 


ITS  ART,  STORY  AND  SYMBOLISM 

him  at  Carmel-by-the-Sea.  When  he  tires  of  New 
York  he  takes  a  little  company  of  followers  with 
him  and  makes  a  tour  of  the  artist  shrinks  in  the 
Old  World — studying,  directing  and  serving  in 
every  way  as  master  and  guide  into  the  great  realm 
of  art. 

Velasquez,  Fortuny,  Monet,  Whistler  and  Jap- 
anese art  have  all  had  their  influence  upon  Chase. 
Yet  when  he  completes  a  picture  it  is  very  distinct- 
ively his  own,  and  in  no  way  an  imitation  of  any 
of  these  masters  from  whom  he  has  learned.  Chase 
stands  first,  last  and  all  the  time,  for  "art  for  art's 
sake."  He  has  no  patience  with  literary  or  story- 
telling art.  The  reading  of  emotions  or  literary 
ideas  into  a  picture  can  not  be  done  with  his  can- 
vases ;  his  work  stands  for  all  he  wishes  it  to  stand 
for,  without  the  help  of  an  interpreter.  Mere  pret- 
tiness  is  a  crime  he  lifts  up  his  voice  against,  morn- 
ing, noon  and  night,  and  he  has  been  one  to  always 
maintain  high  ideals. 

While  studying  in  Munich,  Chase  turned  from 
painting  historical  things  to  things  he  knew,  and  it 
has  made  his  whole  field  of  subject-matter  original 
and  strong,  with  much  that  is  vital  and  living  in  it. 
His  portraits  are  fine,  his  landscape  work  is  excel- 
lent   and    his    still-life    is    among    the    best    in    the 

United  States. 

205 


Cha»e'H    Self  Portrait 

206 


ITS  ART,  STORY  AND  SYMBOLISM 

Chase  considers  three  things  necessary  to  make 
art  great ;  namely,  truth,  quality,  and  interesting 
treatment.  In  speaking  of  his  own  masterpiece  he 
says,  naively,  "It  is  that  one,"  and  he  points  to  a 
blank  canvas,  but  he  sees  thereon  an  unpainted,  un- 
expressed dream,  one  that  always  hovers  near,  but 
in  successive  efforts  has  never  been  reached,  the 
picture  that  eludes  and  lures  him  on.  These  painter 
folk !  They  give  us  so  many  delightful  canvases, 
yet  they  tell  us  none  is  their  greatest ;  always  they 
struggle,  as  their  experience  and  knowledge  grow, 
for  a  higher  ideal. 

The  Chase  portrait  is  a  fine  painting  by  the  artist 
himself  and  a  superb  likeness  which  does  not  neces- 
sarily follow.    It  is  a  typical  Chase  portrait. 


John  Sargent. 

One  of  the  most  delightful  men  to  contemplate 
is  this  artist  whose  early  steps  were  guided  by 
parents  able  to  give  him  every  advantage  and 
blessed  with  far-seeing  wisdom  in  the  course  they 
pursued. 

He  was  born  in  Florence.  His  boyhood  was 
spent  in  a  city  which  breathes  not  alone  culture,  but 
knowledge — something  vastly  different.  He  stud- 
ied in  a  careful  way  the  things  tending  to  develop 

207 


THE  DREAM  CITY 

a  growing  mind.  He  found  rest  in  playing  a 
Chopin  nocturne  or  a  Beethoven  sonata.  History, 
poetry,  music,  and  drawing  finally  led  him  to  de- 
cide in  favor  of  a  painter's  career.  Then  he  was 
taken  to  Paris.  His  careful  academic  training  in 
Florence  enabled  him  to  show  Carolus-Duran  a 
folio  filled  with  interesting  drawings  that  heralded 
something  of  his  coming  genius. 

This  famous  Parisian  teacher  directed  the  work 
of  Sargent  skilfully  and  equipped  the  young  man 
in  a  manner  that  has  never  changed.  Sargent 
remained  with  Carolus-Duran  until  he  painted  a 
portrait  of  his  master  which  was  pronounced  supe- 
rior in  work  and  excellence  to  that  of  the  teacher, 
then  he  started  out  into  the  world  to  study  the 
works  of  the  masters  who,  though  long  since  dead, 
have  left  a  message  in  their  art.  Frequently  has 
the  timid,  shy,  unapproachable,  unknowable  Sar- 
gent stood  before  the  greatest  Spanish  artist  drink- 
ing in  the  fundamental  truths  which  made  his  work 
that  of  an  epoch  maker.  Valesquez  has  been  the 
source  from  which  all  modern  artists  have  received 
inspiration,  and  Sargent  is  no  exception. 

The  strange  quality  in  the  work  of  Sargent  is 
that  while  he  himself  has  depths  which  to  his  near- 
est and   dearest   remain   unsoundable,   he   can   and 

208 


ITS  ART,  STORY  AND  SYMBOLISM 

does  in  a  way  most  uncanny,  portray  the  depths  and 
even  with  greater  skill,  the  shallowness,  of  those 
who  sit  for  portraits.  One  has  only  to  visit  his 
rooms  and  study  the  faces  he  has  given  us  there 
in  his  wonderful  pictures  to  appreciate  the  truth 
of  this.  Henry  James  has  everything  in  his  face 
that  one  could  have  anticipated,  and  the  picture 
was  justly  famous  long  before  that  militant  suf- 
fragette with  her  vicious  hatchet  slashed  the  face 
and  coat.  The  scars,  though  carefully  repainted, 
are  still  discernible.  John  Hay  looks  out  from  his 
frame  every  inch  a  statesman,  and  Mrs.  White  is 
as  truly  the  woman  accustomed  to  the  elegance 
and  etiquette  of  the  social  realm ;  a  woman  who 
would  never  be  at  a  loss  to  say  the  right  thing  at 
the  right  time,  and  who  feels  herself  an  aristocrat 
of  the  deepest  dye. 

Sargent's  portraits  are  tell-tales.  Madam  Gau- 
tran  with  her  marvelous  skin  is  wonderful.  But 
Sargent  turns  her  head  and  allows  you  to  see  her 
painted  ear,  her  painted  lips  and  finger  tips ;  almost 
cruel  is  the  portrayal  of  the  haughty,  disdainful, 
notorious  woman  standing  there  to  charm  by  the 
beauty  of  her  flesh ;  painted  by  many  artists,  but  be- 
trayed by  this  man  who  allows  no  clay  spot  to 
escape. 

209 


THE  DREAM  CITY 

Sargent,  too,  has  a  way  of  living  up  to  a  stand- 
ard. He  is  loath  to  part  with  his  best  work.  He 
keeps  it  before  him  in  his  studio  and  strives  always 
to  excel  his  best.  Chase's  masterpiece  is  unpainted ; 
Sargent's  when  painted  becomes  instantly  some- 
thing he  would  surpass. 


James  MacNeill  Whistler. 

Opposite  in  every  conceivable  way  from  Sargent 
is  Whistler.  In  this  man  you  have  a  character 
which  was  unique  in  its  apparently  flagrant  indif- 
ference to  public  opinion,  seemingly  seeking  cheap 
notoriety,  dressing  as  a  Beau  Brummel,  chattering 
incessantly  if  the  humor  possessed  him,  remaining 
taciturn  at  other  times,  always  exerting  himself 
to  be  spectacular,  possessing  a  kind  heart,  a  bitter, 
sarcastic  tongue,  and  never  by  any  means  permit- 
ting any  one  to  understand  him.  He  is  one  of 
our  greatest.  His  art  is  quiet,  unobtrusive  in  color 
and  expression,  so  elusive  that  the  onlooker  must 
give  time  and  even  patience  to  obtain  an  under- 
standing of  its  deeper  meaning. 

The  world  knows  his  portraits  of  his  "Mother" 
and  "Carlyle."  The  portraits  shown  in  the  Whist- 
ler room  are  seemingly  less  representative  because 
less  known,  but  his   subdued   work  is  everywhere 

210 


ITS  ART,  STORY  AND  SYMBOLISM 

evident.  He  has  a  message  for  only  the  few  who 
are  wilhng  to  go  to  him  without  fixed,  preconceived 
notions.  To  go  to  Whistler  or  to  any  other  painter 
with  this  attitude  is  to  shut  the  door  of  understand- 
ing and  appreciation.  Take  what  Whistler  gives ; 
don't  question  and  argue  with  the  canvases.  If 
it  is  a  portrait  the  face  will  gradually  come  out 
of  the  enveloping  hazy  depths  to  convey  the  like- 
ness expressed  by  the  artist.  If  it  is  a  night  scene, 
like  the  "'Sky-rocket,"  the  darkness  will  gradu- 
ally yield  up  just  the  ghostly  suggestion  of  the 
scene,  charming  in  the  portion  visible  and  more 
charming  by  the  mere  suggestion  of  the  invisible. 
This  is  Whistler,  this  is  the  phase  of  the  man/ 
alluded  to  before ;  he  is  absolutely  subtle  in  the 
way  he  evades  the  actual  and  conveys  only  the 
least  bit  of  a  whole  which  in  its  entirety  might 
smack  of  the  blase. 

The  little  series  of  color  studies  are  incompre- 
hensible to  many,  but  if  taken  for  what  they  are — 
beautifully  expressed  bits  of  color  and  massed, 
curving  line,  they  will  grow  upon  the  most  obdu- 
rate. Don't  worry  because  the  faces  are  not  there, 
don't  fret  because  they  are  not  completed  pictures. 
Whistler  wanted  left  just  what  he  suggests — beau- 
tiful   color,   and   Japanese    designs    in    the    gently, 

211 


THE  DREAM  CITY 

curving-  figures,  and  these  are  there  in  rich  plenty. 
Whistler  is  the  greatest  etcher  since  Rembrandt. 
The  room  filled  with  these  treasures  will  hold  any 
one  interested  in  this  art.  The  etching  of  Whistler 
has  exerted  tremendous  influence  upon  modern 
work,  and  it  is  one  more  privilege  of  those  inter- 
ested in  American  achievement  to  study  the  work 
of  this  master  etcher. 


Edmund  C.  Tarbell  was  born  in  West  Groton, 
Massachusetts,  in  1863.  He  studied  in  the  art 
schools  in  Boston  and  Paris,  Devoting  himself  un- 
interruptedly to  his  profession,  Tarbell  has  produced 
a  series  of  remarkably  fine  pictures.  His  room  has 
a  great  deal  to  say  to  the  visitor  who  will  quietly 
study  the  twenty  or  more  canvases  placed  there  for 
inspection. 

Tarbell  is  regarded  by  the  public  at  large  as  one 
of  the  most  able  living  painters.  A  technique  like 
his  is  difficult  to  acquire ;  its  supple  and  subtle 
efficiency  may  well  have  absorbed  the'  whole  of  an 
artist's  interest.  It  must  have  involved  a  period  of 
rigid  application  and  drudgery  during  which  time 
everything  else  was  swept  aside  by  the  one  supreme 
object,  the  mastery  of  this  great  means  wherewith 
he  would  express  himself  during  all  his  future 
activity. 

212 


Tarbell's — Girl    Sewlns 


ITS  ART,  STORY  AND  SYMBOLISM 

The  love  of  the  picturesque  duties  of  women  is 
a  subject  dear  to  Tarbell,  and  he  gives  it  over  and 
over  in  his  interiors.  A  more  pleasing  wall  of 
genre  pictures  could  scarcely  be  found  outside  of 
the  old  Dutchmen — no  modern  man  does  it  so  well. 

Tarbell  has  reserve;  fine  technique,  not  a  strik- 
ing love  of  color,  but  a  delightful  color  combi- 
nation ;  he  has,  in  fact,  the  means  whereby  he  may 
put  upon  a  canvas  the  most  illusive  subjects.  His 
room  is  certainly  filled  with  the  most  delightful 
pictures ;  they  are  restful,  well  chosen,  happy  in 
their  quiet  contentment  and  fascinating  in  their  re- 
serve and  power.  His  interior  pictures  have  the 
spell  of  some  of  the  very  best  Dutch  interiors. 
Tarbell's  light  and  shade,  the  reflections,  the  play 
of  color  upon  the  wall,  floor,  tables  and  through 
the  curtains  is  a  pleasure  to  discover.  His  portraits 
are  superbly  beautiful,  "The  Turquoise  Ring"  and 
"The  Mirror"  being  among  the  most  beautiful  pic- 
tures in  the  whole  collection.  Tarbell's  girl  sewing 
is  a  favorite  with  every  one.  The  wall  with  its  old 
pictures,  the  quietude  and  the  wonderful  skill  shown 
in  the  composition  makes  it  fascinating  in  the  ex- 
treme. The  hands  of  Tarbell's  pictures  are  always 
in  a  difficult  position  yet  he  paints  them  in  with 
masterly  skill. 

213 


THE  DREAM  CITY 

Tarbell  is  at  the  head  of  one  of  our  large  art 
schools  in  Boston,  and  it  is  fine  to  know  that  we 
have  a  man  of  such  attainment  leading  our  younger 
people  up  to  the  heights  of  excellence  he  has 
attained  for  himself. 


Edward  W.  Redfield. 

It  is  a  pleasure  to  compare  some  men  whose  work 
is  peculiarly  individual  with  others  who  have  as 
marked  characteristics.  Two  men,  each  having 
decided  tendencies  to  paint  winter  and  snow  are 
Redfield  and  Twachtman.  After  studying  the  dain- 
ty, almost  spiritual  interpretation  put  upon  the 
canvas  by  Twachtman  go  into  the  adjoining  room 
and  see  the  vigorous,  strong  and  vibrating  scenes 
Redfield  makes  of  the  same  season.  It  would  seem 
that  the  impression  made  upon  the  painter  was  so 
great  that  mere  color  could  scarcely  convey  it  and 
that  he  was  about  to  use  paint  as  a  means  of  model- 
ling rather  than  to  shade  the  canvas  into  a  likeness. 
The  paint  stands  dried  in  places  to  the  fineness  of  a 
hair — this  showing  in  what  quantities  it  has  been 
used.  However,  it  all  serves  the  purpose,  and  it 
serves  it  well,  for  no  pictures  look  like  Redfield's. 

Some  delightful  efifects  are  there,  too.  Cold, 
fresh,     rolling    water,     comes     down     in     curving 

214 


ITS  ART,  STORY  AND  SYMBOLISM 

Streams  which  flow  between  snowy  hills.  The  snow 
is  painted  when  it  has  just  melted  sufficiently  to 
give  a  delightfully  varied  design  to  the  hill  sides, 
and  in  a  number  of  his  pictures  Redfield  takes  the 
design  as  furnished  by  the  snow. 

The  likeness  between  the  spring  gardens  of 
Twachtman  and  Redfield  is  much  more  marked. 
They  are  in  freshly  budded,  new-grown  greens  and 
show  hedges  of  bright  spring  flowers ;  but  there 
again  likeness  ends.  Redfield's  evening  scenes  of 
"New  York"  and  the  "Brooklyn  Bridge"  are  soft 
and  beautiful,  filled  with  innumerable  lights  which, 
as  they  glow  through  the  darkness,  increase  the 
effect  of  the  haze  until  they  are  mere  ghosts  of  a 
great,  throbbing  metropolis.  Versatility  must  lie 
deep  in  the  heart  and  mind  of  a  man  who  paints 
wooded  hills,  marshy  pools,  snowy  land,  muddy 
roads,  spring  flowers,  green  fields,  and  a  city  by 
night — making  each  as  true  as  the  other. 

A  realist  Redfield  surely  is  compared  with 
Twachtman,  yet  the  man  who  loves  Nature  as  he 
does  must  be  a  poet,  too,  if  he  would  understand 
all  the  various  moods  of  this  changing  goddess — 
and  that  he  understands  is  proven  by  his  work. 


215 


Interior    hy    Tarbell 

216 


CALIFORNIA  PAINTERS  IN  THE  FINE 
ARTS. 

There  are  canvases  from  the  easels  of  over  fifty 
CaUfornia  painters  in  the  rooms  of  the  Fine  Arts. 
Nor  is  that  all,  one  of  the  most  prominent  men  on 
the  recent  jury  stated  emphatically  that  the  highest 
honor  which  could  have  been  awarded  would  have 
gone  to  a  California  painter  if  he  had  not  been  dis- 
qualified by  being  a  member  of  the  jury.  It  would 
certainly  have  been  a  great  honor  to  the  West  if  in 
the  face  of  all  the  European  and  Eastern  standards 
the  "Grand  Prix"  had  fallen  into  the  hands  of  a 
California  painter. 

It  is  with  regret  that  the  name  of  each  one  of 
the  fifty  cannot  be  dealt  with  individually.  A  list, 
however,  will  enable  the  visitor  to  seek  them  out 
and  enjoy  the  work  not  altogether  as  Calif ornian 
but  as  the  work  of  a  group  of  painters  who  have 
found  here  something  of  sufficient  interest  to  hold 
them  resident,  and  of  whom  California  is  justly 
proud. 

In  room  72  are  pictures  of  Geneve  Rixford  Sar- 
geant,  Olga  Ackerman,  Constance  Macky,  T.  Van 
Sloun,  Benjamin  Brown,  Maren  Froelich,  Guy 
Rose,  Florence  Lundborg,  and  Gertrude  Parting- 
ton. 

217 


THE  DREAM  CITY 

Room  117  has  pictures  of  Anne  M.  Breme", 
Clark  Hobart,  Lee  Randolph,  Lucia  Mathews, 
Florence  Lundborg,  Bruce  Nelson,  and  Miss  E. 
Charlton  Fortune. 

Room  118  has  pictures  by  Harry  Seawell  and  H. 
J.  Breuer. 

Room  119  contains  work  of  Martinez  and  Isabel 
Percy. 

Room  108  contains  pictures  of  E.  W.  Christmas. 

Room  74  contains  pictures  by  Cadenasso  and 
Carl  Oscar  Borg. 

Room  71  has  two  pictures  by  Miss  E.  Charlton 
Fortune,  one  of  them  being-  "Interior  of  Carmel 
Mission,"  purchased  by  William  M.  Chase. 

Room  69  has  the  large  canvas  of  Jules  Pages,  the 
California  painter  now  resident  in  Paris.  This  pic- 
ture has  been  exhibited  in  the  Paris  Salon,  Chicago 
and  The  Carnegie  Institute  in  Pittsburgh.  Jean 
Manheim  has  one  picture  here. 

Room  68  contains  two  pictures  by  Piazzoni  and 
the  portrait  of  Mrs.  Lentelli  by  Sandona. 

Room  (ij  has  quite  a  number  of  Californians.  It 
has  Maurice  Braun,  Helen  Dunlap,  Carl  Oscar 
Borg,  Maynard  Dixon,  Jean  Manheim,  Armin  C. 
H;ansen  and  Clara  MacChesney. 

Room  65  contains  pictures  by  Constance  Macky, 

218 


ITS  ART,  STORY  AND  SYMBOLISM 

Anne  Bremer,  and  three  pictures,  one  being  "The 
Young  Mother,"  by  Mary  Curtis  Richardson. 

Room  56  has  Carl  Oscar  Borg,  Maurice  Del  Mue, 
and  "The  Sleeping  Child"  by  Mary  Curtis  Rich- 
ardson. 

Room  55  has  pictures  by  Evelyn  McCormick, 
Maurice  Braun  and  Jean  Manheim. 

Room  50  has  pictures  by  Miss  E.  Charlton  For- 
tune, Miss  Anne  Bremer,  Helen  Dunlap,  Bruce 
Nelson  and  Armin  C.  Hansen. 

Room  49  has  two  pictures  of  the  marshland  by 
the  deaf-mute  painter  Granville  Redmond,  and  two 
by  Eugene  Neuhaus. 

Room  47  has  two  pictures  by  Dickman  and  four 
by  Eugene  Neuhaus ;  also  two  by  Jos.  Raphael,  an- 
other San  Franciscan  now  resident  in  Paris. 

Room  46  has  work  by  Spencer  Macky  and  six 
paintings  by  Frank  Vincent  Du  Mond,  now  a  New 
York  resident. 

Room  44  has  pictures  by  Guy  Rose,  Maurice 
Braun,  Cadenassa,  Puthuff,  and  Benj.  Brown,  also 
Clara  MacChesney. 

Room  43  contains  pictures  by  Lee  Randolph,  Ri- 
naldo  Cuneo,  Calthea  Vivian,  Maynard  Dixon  and 
Clarence  Hinkle.  Perham  Nahl's  fine  thing  of 
"Despair"  is  here,  too. 

219 


THE  DREAM  CITY 

Room  40  has  Percy  Gray,  Helen  Chandler. 

Room  '}^'j  contains  work  by  Lee  Randolph. 

Room  36,  Amanda  Austin,  Lucia  Mathews,  Spen- 
cer Macky,  Charleton  Fortune,  Matteo  Sandona. 

There  are  several  talented  Californians  who  have 
been  mentioned  previously  with  the  etchings  and 
color  prints.  Mr.  Robert  Harshe,  Chief  Assistant 
of  the  Department  of  Fine  Arts,  Mr.  Hansen,  and 
Mr.  Plowman  formerly  of  California,  at  the  present 
time  Secretary  of  the  Etcher's  Club  in  New  York. 
All  local  men  who  have  studied  and  worked  abroad. 

Room  76  is  filled  with  the  painting  of  two  men, 
Francis  McComas  and  Arthur  F.  Mathews. 

Room  90  is  entirely  devoted  to  the  work  of  Wil- 
liam Keith. 

California  has  much  that  is  beautiful  in  a  pecu- 
liar way,  and  those  who  record  by  print,  color  or 
etching  the  various  phases  of  California's  charms 
find  it  a  field  of  variety,  and  fascinating  because 
of  these  prevailing  conditions.  The  mountains  of 
the  high  Sierras  are  grand  and  rugged ;  the  moun- 
tains lower  down  are  covered  with  forests  and  rich 
with  mountainous  wooded  scenery,  while  nearer  the 
valley  come  the  undulating  foothills  and  the  great 
redwood  trees,  another  luring  bit  of  landscape, 
all  of  which  the  painter  uses  again  and  again.    The 

220 


ITS  ART,  STORY  AND  SYMBOLISM 

deciduous  trees  being"  few,  the  evergreen  trees 
make  a  very  marked  place  for  themselves  upon  the 
California  landscape  and  there  are  many  painters 
moved  to  leave  intimate  likenesses  of  the  graceful 
eucalyptus  trees  and  the  sturdy,  spreading  oaks. 
The  fertile  land,  the  wonderful  flowers,  the  rivers 
with  their  marshes,  the  sea  with  its  sand-dunes,  the 
peculiar  Cyprus  trees  of  Monterey  and  Carmel-by- 
the-Sea  are  other  beauties  in  the  great  and  various 
field  of  subject  matter  held  out  by  nature  on  the 
coast  of  the  Pacific;  nor  are  these  all,  the  desert 
with  its  gamut  of  color  and  vastness  supplies 
greater  things  still,  and  the  palm  and  cactus,  and 
the  semi-Spanish  associations  of  these  lands  to- 
gether with  the  entirely  Spanish  missions  give  a 
subject  so  foreign  in  charm  that  it  possesses  a  lure 
all  its  own.  All  these  things  sooner  or  later  enroll 
themselves  upon  the  list  of  paintings  given  to  the 
world  by  California  artists — add  to  these  local  dif- 
ferences the  change  brought  about  by  the  sun  and 
its  glare,  the  rain  and  its  mist,  the  fog  and  its 
cloud,  the  moon  and  its  shade  and  you  have  a  few 
of  the  conditions  which  entertain  the  attention  of 
these  color  poets.  In  studying  these  paintings  of 
the  Californians  as  they  have  been  grouped  in  these 
pages  all  of  this  material  will  be  brought  before  the 
visitor,  and  mood  after  mood  of  beautiful  Califor- 
221 


THE  DREAM  CITY 

nia  will  pass  before  the  vision,  some  lovelier 
than  others,  but  all  possessed  of  exquisite  delight 
and  fantasy.  From  snowy  peaks,  always  white,  to 
the  semi-tropical  fruits  and  flowers,  is  a  great  range 
in  the  scale  of  nature,  but  California  has  it  all  and 
it  surely  is  a  wonderful  land,  full  of  inspiration  and 
poetical  fantasy  as  well  as  somber  charm. 

Several  of  these  painters  have  special  phases  of 
the  landscape  in  which  they  seem  to  have  caught 
every  secret.  Cadenassa's  eucalyptus  trees  re- 
flected in  still  pools  are  full  of  poetry  and  solitude. 
Puthuff  has  the  same  thing  with  oaks  at  a  more 
brilliant  time  of  the  day,  and  Eugene  Neuhaus  has 
the  spirit  likewise,  in  a  tone  nearer  bronze.  These 
men  seem  to  deal  entirely  with  the  landscape,  its 
trees,  quiet  waters  and  speechless  charm. 

Maurice  Braun  and  Maynard  Dixon  have  in  a 
different  way  the  superb  pinkish  mists  which  en- 
velope the  great  gorges  of  the  mountains.  Frank 
Vincent  Du  Mond  has  the  bursting  song  of  spring 
chained  to  his  green  canvases  while  every  possible 
mood  of  religion  is  imprisoned  in  the  gloom  shaded 
pictures  of  Piazzoni,  and  through  the  whole  cycle 
these  individual  characteristics  are  in  evidence. 

Hansen,  Dickman,  Nelson,  Clark  Hjobart  and 
Geneve  Sargeant  are  some  who  paint  the  sea  and 
sea-folk,  Dickman  having  one  or  two  large  sea- 
222 


ITS  ART,  STORY  AND  SYMBOLISM 

pieces ;  while  Guy  Rose  and  Jean  Manlieim  do  the 
sunniest  sun  spots  in  the  garden  and  on  the  river. 

Miss  Lundborg  has  three  interesting  pictures  in 
the  Fine  Arts  but  the  best  work  of  hers  at  the 
P.  P.  I.  E.  is  the  mural  in  the  Woman's  Tea  Room, 
California  Building,  which  has  been  purchased  by 
Mrs.  Phoebe  Hearst. 

Francis  McComas  and  Arthur  F.  Mathews  have 
one  room,  76.  The  most  of  the  pictures  of  Mc- 
Comas are  water  colors  of  the  Indian  haunts  of  the 
Arizona  desert.  The  work  is  strong  and  wonder- 
fully interesting  and  is  perhaps  the  only  wall  that 
could  have  supplemented  the  work  in  oil  of  Ma- 
thews which  hangs  upon  the  other  three  walls  of 
the  room. 

Mathews  has  a  charm  all  his  own  and  in  the  dim, 
hazy  green  and  the  softened  colors  which  he  uses 
he  has  given  some  exceedingly  poetical  renderings 
of  the  landscape  of  California.  The  Cyprus  trees  of 
Monterey  seem  to  have  taken  Mathews  into  their 
confidence  for  he  portrays  them  so  intimately  that 
they  almost  speak  of  their  life-history  as  they  stand 
in  the  somber  toned  canvas  in  their  flat  massed 
beauty.  The  same  misty  flood  about  the  figure 
work  of  Mathews  gives  an  added  charm.  An  air 
of  mystery,  of  elusion  and  reserve  seems  to  envelope 
these  women,  never  weakened  by  beauty,  but  inter- 
223 


THE  DREAM  CITY 

esting  because  they  seem  so  serene,  so  certain  and 
capable,  yet  with  no  thought  of  aggressiveness  they 
play  their  part. 

Helen  Dunlap,  Helen  Hyde,  Manheim,  Acker- 
man,  Mrs.  Partington,  Sandona,  Maren  Frolich, 
Anne  Bremer,  Spencer  Macky,  Joseph  Raphael, 
Jules  Pages,  Mrs.  Richardson  (spoken  of  else- 
where), and  Clara  MacChesney  are  all  in  one  way 
or  another  figure  painters. 

Helen  Hyde  is  doing  almost  all  her  work  after 
Japanese  fashion  now,  and  she  is  making  it  inter- 
esting. The  rest  use  the  figure  in  decorative  work 
and  in  portrait.  Manheim  has  some  delightful 
children  in  a  sunny  garden ;  Maren  Frolich  has  a 
mirror  reflecting  the  dimmed  face  of  a  charming 
young  woman  in  a  Japanese  costume ;  Spencer 
Macky  has  a  mother  and  child ;  Sandona  has  a  por- 
trait of  Mrs.  Lentelli  and  a  clever  sketch  of  the 
same  head  given  in  four  positions ;  Anne  Bremer 
has  a  decorative  picture  with  blue  and  red  mostly 
in  evidence  until  you  catch  the  fixed,  earnest  gaze 
of  the  young  woman  she  has  painted,  then  you  are 
held  as  if  in  a  spell.  It  is  not  altogether  pleasant, 
it  is  almost  uncanny  the  power  which  is  exercised 
by  the  wide-open  eyes  of  this  girl,  the  picture  is 
strong  and  has  a  fascination,  but  it  is  scarcely 
lovable. 

224 


ITS  ART,  STORY  AND  SYMliOLlSM 

Among  those  who  are  painting  in  an  interesting 
way  to  artists  is  another  woman,  recently  become 
a  California  resident  painter — Betty  de  Jong.  She 
has  a  ballet  girl  in  the  woman's  room,  a  portrait 
called  Beatrice  and  the  picture  of  a  Portuguese 
girl  elsewhere.  The  laity  scarcely  appreciates  this 
painter,  education  and  association  may  help,  or  the 
artist  may  modify  the  style  of  her  work  with  time. 
Be  that  as  it  may,  her  work  is  highly  interesting  to 
the  painters  themselves. 

The  pictures  of  Clara  MacChesney  are  medal 
winners  and  proclaim  their  excellence  without  any 
help  from  any  one.  "A  Good  Story"  and  "After 
the  Bath"  being  very  different  in  subject  and  treat- 
ment but  delightful  pictures  in  each  instance. 

The  pictures  of  William  Keith  have  been  hung 
in  one  room  and  just  one  glimpse  tells  the  story 
of  Keith's  fascination  by  the  California  oaks.  In 
many  instances  one  can  almost  recognize  some  for- 
est friend  in  these  portraits  of  trees — for  that  is 
seemingly  what  they  are ;  in  other  cases  it  would 
seem  he  had  only  left  you  the  ghost  of  an  acquaint- 
ance ;  but  over  and  over  he  uses  the  Berkeley  oaks 
in  reality  and  in  suggestion. 

The  West  was  Keith's  artistic  discovery ;  he  was 
the  first  to  paint  the  great  mountain  lakes,  the  first 
to  portray  the  beauties  as  he  found  them. 
225 


THE  DREAM  CITY 

There  are  those  who  love  Keith  and  those  who 
find  him  lacking  in  charm.  That  the  man  was  un- 
usual there  can  be  no  doubt,  but  no  one  with  marked 
characteristics  and  sufficient  resolution  to  speak  al- 
ways what  is  within  him  can  escape  the  criticism 
of  the  public.  Keith  worked  incessantly.  He  w;),s 
never  happier  than  when  standing  with  a  palette 
in  his  hand  before  the  easel.  He  worked  with  tre- 
mendous rapidity,  he  was  sensitive  in  the  extreme 
and  therefore  inspirational  to  a  superlative  degree. 
This  in  time  made  him  give  way  to  fantasy,  and  the 
Keith  room  bears  ample  evidence  of  the  fact  that 
as  Mendelssohn  wrote  "Songs  without  Words"  for 
a  piano,  and  Chopin  could  sit  and  dream  in  the  tone 
world  and  call  his  dreams  preludes,  nocturnes  and 
phantasies,  even  so  Keith  with  his  palette  set  with 
deep,  golden  browns,  or  cool,  rich  greens,  has 
dreamed  his  dreams  and  left  the  records  upon  his 
canvas.  He  has  never  left  anything  ugly,  these 
flights  into  the  realm  of  fancy  have  always  been 
beautiful  in  composition  and  tone. 

In  composition  his  pictures  proclaim  the  Barbizon 
influence — the  light  focal  paint,  the  surrounding 
area  of  interest  which  gradually  emerges  into  the 
heavier  massed  indistinct  outer  edges.  Some  one 
has  said  of  him  "Had  he  been  less  a  Keith  he  miglit 


ITS  ART,  STORY  AND  SYMBOLISM 

have  been  the  American  Daubigny."  Be  that  as  it 
may,  he  was  every  whit  Keith  and  we  have  a  right 
to  be  grateful  that  it  was  so. 

Keith's  own  love  of  the  oak  was  so  great  that  he 
has  made  every  one  familiar  with  it  individually  and 
collectively.  Keith  has  painted  the  oak  as  Monet 
painted  his  series  of  the  "Norman  Church,"  "Hay- 
rick," "Lily-pond,"  etc.,  and  has  given  the  world 
the  oak  as  he  saw  it  in  the  early  morning  mists,  in 
the  brightening  sunrise,  in  the  glaring  noon  and  in 
the  twilight.  In  some  of  the  pictures  in  the  Keith 
room  there  is  a  hush  of  the  vast  forest  which  comes 
over  one  and  instinctively  they  approach  with  a  si- 
lent demeanor  and  a  deep  feeling  for  the  greatness 
and  majesty,  power  and  strength  of  the  broad, 
shady  mass  shaped  into  the  glory  of  an  oak  grove. 

Fanciful,  poetical,  moody,  enthusiastic  and  de- 
pressed by  turns,"in  Keith  we  have  the  pattern  tem- 
perament of  the  poet  and  that  in  his  case  it  was  a 
color  poet  makes  no  difference,  his  art  is  the  art  of 
no  other  man,  and  its  place  in  the  world  remains 
yet  to  be  seen. 

Harriman,  Clarke,  Huntington  and  Francis  P. 
Harrison  own  pictures  by  Keith,  as  do  the  Chicago 
Art  Museum,  Brooklyn  Art  Gallery,  Corcoran  Art 
Gallery  in  Washington,  D.  C. ;  other  canvases 
being  scattered  in  England  and  Germany. 
227 


THE  DREAM  CITY 


FRANK  DUVENECK. 


The  American  painter  whose  work  breathes  of 
the  time  of  Rembrandt  and  Velasquez,  whose  can- 
vases still  cling  to  the  deep,  rich,  red  browns,  whose 
faces  seem  to  speak  of  the  finest  period  in  Northern 
European  art,  is  Frank  Duveneck. 

Thirty  pictures,  together  with  thirteen  etchings 
and  the  beautiful  sculptured  memorial  to-  his  wife, 
give  testimony  to  the  greatness  of  the  talent  of  this 
man.  Twachtman,  Alexander  and  Chase,  to  a  de- 
gree, have  all  forsaken  the  training  of  Munich,  the 
ideal  of  Rembrandt  and  the  type  of  nearly  all  the 
work  of  Velasquez.  But  this  room  of  Duveneck's 
speaks  in  unmistakable  terms  of  his  love  for  that 
great  period,  and  his  joy  in  it. 

Duveneck's  portrait  of  Prof.  Loefifts  is  one  of  his 
fine  ones,  looking  almost  as  if  it  could  have  stepped 
in  from  a  period  years  back.  Prof.  Loeffts  is  one 
of  the  famous  Munich  artist  friends  and  Duveneck 
has  given  a  splendid  portrait  of  the  famous  German 
here, 

Duveneck  painted  for  several  years  in  Munich 
and  came  home  while  yet  a  young  man  with  suffi- 
cient work  to  place  him  among  the  prospective  great 
in   America.      Wishing   to   continue    his    study   he 

228 


Duveneck's — Prof.   Loeittsi 

229 


THE  DREAM  CITY 

soon  returned  to  the  old  world  where  they  sought 
to  secure  him  upon  the  teachers'  staff  at  several  art 
schools.  All  this  he  declined ;  bui  he  could  not  con- 
tinue to  work  as  successfully  as  he  did  and  keep  his 
"light  hidden  under  a  bushel."  The  result  was 
that  he  went  from  Munich  to  Polling,  to  Venice, 
Florence  and  other  Italian  cities  to  paint,  followed 
by  a  large  company  of  interested  students  who 
looked  upon  him  as  a  master.  It  was  to  Florence 
that  the  little  American  girl  who  later  became  his 
wife  journeyed  to  study  with  him.  Her  death 
after  three  years  of  a  delightfully  happy^  married 
life,  bowed  the  great  painter  in  an  inconsolable 
grief. 

Among  the  pictures  in  the  Duveneck  room  (No. 
87)  are  two  portraits  of  particular  interest:  One 
of  John  W.  Alexander  (3910),  whose  death  oc- 
curred only  two  weeks  ago  in  New  York,  and  who 
was  one  of  those  awarded  high  honors  by  the  jury ; 
the  other  of  Frank  Currier  (3873),  whose  pictures 
hang  in  gallery  No.  54. 

Duveneck  has  been  awarded  a  high  honor  by  the 
foreign  men  upon  the  jury  who  sent  the  following 
letter  to  the  jury  on  awards : 

"We,  the  representatives  of  foreign  countries  act- 
ing upon  the  International  Jury  of  Awards  in  the 

230 


ITS  ART,  STORY  AND  SYMBOLISM 

Department  of  Fine  Arts,  do  hereby  ask  your  kind 
consideration  of  the  following  recommendation 
unanimously  adopted  by  us  in  a  meeting  especially 
called  for  this  purpose  : 

"Whereas,  The  comprehensive  retrospective  col- 
lection of  Mr.  Frank  Duveneck's  works  in  oils,  etch- 
ing and  sculpture  brought  together  in  the  Palace 
of  Fine  Arts  has  astonished  and  delighted  all  those 
hitherto  unacquainted  with  his  work,  while  con- 
firming the  opinion  of  those  few  who  have  long 
held  him  in  the  highest  esteem,  both  as  an  artist 
and  as  a  man,  we,  the  foreign  jurors  on  the  Inter- 
national Jury  of  Award,  feel  that  some  special  rec- 
ognition of  his  distinguished  contributions  to 
American  art  should  be  awarded  Mr.  Frank  Duve- 
neck,  and  we  herewith  recorrimend  that  a  special 
Medal  of  Honor  be  struck  in  his  honor  and  awarded 
him. 

"(Signed:)  William  Witsen,  Holland;  Francis 
Centurion,  Cuba;  Prof.  Ettore  Ferrari,  Italy;  A. 
Kamana,  Japan ;  A.  de  Sousa  Lopez,  Portugal ; 
K.  Owyang,  China;  J.  G.  Masanti,  Argentina;  Mat- 
teo  Sandona,  Uruguay ;  Anshelm  Schultzenberg, 
Sweden ;  William  Henry  Fox,  Sweden ;  Jules 
Pageo,  Norway;  J.  Nilsen  Laurvik,  Commissioner 
of  Arts  for  Norway." 

231 


THE  DREAM  CITY 

Duveneck  was  born  in  Covington,  Kentucky,  in 
1848  of  parents  whose  Dutch  characteristics  he 
shows  in  every  way.  Many  have  had  the  pleasure 
of  seeing  him  in  the  Palace  of  Fine  Arts  the  past 
month  while  he  has  been  serving  on  the  jury. 

The  portrait  of  Duveneck  is  painted  by  Joseph 
De  Camp,  Duveneck's  favorite  pupil  and  one  of  the 
"Ten."  It  is  a  splendid  likeness  of  the  American 
master  and  hangs  over  the  replica  of  the  tomb  of 
Mrs.  Duveneck  in  the  room  devoted  to  the  artist's 
works. 


232 


Duvfcneck — by  De  Camp 

233 


THE  DREAM  CITY 


MEN  OF  NO  SCHOOL. 


American  men  whose  art  is  peculiarly  charac- 
teristic have  a  fine  showing  in  the  Fine  Arts. 
Once  more  permit  the  assertion  that  it  seems  a  real 
trial  to  give  only  a  little  paragraph  to  men  who 
should   have   pages   devoted   to   their  achievement. 

Among  these  artists  are  George  Fuller,  John  La 
Farge,  Winslow  Homer,  Sir  Edwin  Abbey,  Mc- 
Clure  Hamilton,  Walter  McEwen,  Gari  Melchers, 
and  others. 

George  Fuller  (room  54)  has  three  pictures. 
"Lorette"  (2553)  is  a  treasure  loaned  by  the  Cor- 
coran Gallery  of  Art.  The  face  of  the  girl  as  it 
peers  from  its  enveloping  mist  is  beautiful,  and 
gives  an  idea  of  the  delicate  handling  of  the  artist. 

John  La  Farge  has  several  pictures  in  the  room. 
So  much  has  been  written  of  him,  and  he  has  writ- 
ten so  much,  it  is  easy  to  learn  of  him  and  his 
unique  place.  His  stained  glass  alone  would  have 
made  him  famous. 

Winslow  Homer  has  fourteen  pictures  in  room 
54,  showing  the  man  at  his  worst  and  his  best. 
"The  Wreck"  (2520)  and  his  "Studio  in  the  Fog" 
(2519)  are  perhaps  the  best  things  there,  the  latter 

234 


ITS  ART,  STORY  AND  SYMBOLISM 

being  a  wonderful  picture  when  the  contents  are 
closely  studied,  the  depth  of  subtle  charm  which 
fairly  reaches  out  through  the  mist,  as  distance 
separates  the  picture  and  visitor,  is  little  short  of 
amazing. 

Sir  Edwin  Abbey  has  a  large  number  of  pen  and 
ink  drawings,  water  colors  and  oils,  in  room  57. 
He  is  a  man  who  has  developed  from  an  illustrator 
into  a  great  painter,  and  his  place  is  unique. 

McClure  Hamilton  is  another  man  represented 
with  several  good  oils  and  a  room  full  of  lovely 
innovations.  His  portraits  are  natural  and  taken 
when  possible  in  the  surroundings  closely  associ- 
ated with  the  sitter.  Gladstone  is  in  his  study  with 
his  books,  Pennell  is  all  but  working,  with  his  studio 
things  about  him.  This  tends  to  put  the  subject 
at  ease  and  lessens  the  probability  of  self-conscious- 
ness. Hamilton's  portrait  of  his  mother  is  another 
on  the  list  of  fine  pictures  to  motherhood. 

The  beautiful  coterie  of  swishing,  swinging 
dancing  girls  Hamilton  has  in  room  39  speaks  for 
itself.  Dainty  color,  wonderful  motion,  scarcity  of 
line,  just  a  suggestion,  yet  everything  comes  up 
before  one  at  a  glance. 

Walter  MacEwen  has  painted  so  long  in  Europe 
that  he  is  scarcely  known  here  at  all,  and  it  has  been 

235 


THE  DREAM  CITY 

another  pleasing  surprise  to  count  one  more  big" 
man  among  our  living  American  painters.  His 
eight  canvases  prove  him  to  be  of  splendid  taste 
and  skill.  Some  are  interiors,  others  with  mirrors 
which  reflect  beautiful  women,  and  still  others  un- 
usual among  the  home  men. 

Of  our  men  living  in  Europe  Gari  Melchers  is 
perhaps  the  greatest.  His  room  is  different  from 
that  of  others.  No  one  can  feel  a  trace  of  any 
preceding  influence,  yet  Gari  Melchers  has  studied 
in  the  appointed  places  and  has  only  the  earth  to 
paint  from. 

The  career  of  Melchers  has  been  of  unbroken, 
steady  growth,  and  uniform  success ;  no  parental 
opposition,  no  poverty,  and  no  romantic  anguish 
or  pathetic  probation.  Melchers  senior  was  a  sculp- 
tor who  had  known  discouragement  to  the  degree 
that  he  gave  up  his  artistic  career.  When  his  son 
wished  to  paint  there  was  just  one  stipulation,  the 
student  days  should  be  spent  in  Dusseldorf.  After 
young  Melchers  considered  himself  sufficiently  ad- 
vanced and  had  spent  three  years  in  the  German 
city,  he  took  matters  in  his  own  hands,  and  calmly 
moved  to  Paris  to  continue  his  studies ;  nor  did  he 
make  any  hurried  effort  to  let  the  family  at  home 
know  of  the  change. 

236 


ITS  ART,  STORY  AND  SYMBOLISM 

He  entered  the  Julien  Academy,  where  his  studies 
were  regarded  as  little  short  of  phenomenal.  Un- 
der Boulanger,  Lefebre  and  later  in  the  Beaux 
Arts  his  advance  was  splendid,  outdistancing  all  his 
fellow  students.  He  won  a  place  for  himself  and 
came  back  to  his  home  city,  Detroit,  to  which  he  is 
devoted.  Here  he  demonstrated  his  success,  then 
returned  to  Europe.  A  brother  of  his  father's  was 
a  Cardinal  living  in  Rome ;  the  young  painter  spent 
some  time  with  his  uncle.  Shortly  after  came  pub- 
lic recognition.  Until  he  had  won  the  highest  hon- 
ors he  was  an  inveterate  worker  and  led  an  obscure 
existence. 

The  mother  and  child  is  one  of  his  most  pleasing 
canvases,  but  Melcher's  pictures  reproduced  in  gray 
in  no  way  satisfy,  they  lack  the  charming  color  and 
touch  of  the  master. 

Now  he  has  studios  in  France — Paris,  Picardy 
and  elsewhere ;  in  New  York ;  two  in  Holland ;  one 
in  Egmont  and  in  Egmont-by-the-Sea ;  at  the  pres- 
ent time  he  is  teaching  in  Weimar. 

Melchers  has  received  more  honors  than  any 
other  American  save  Sargent  and  Whistler.  Mel- 
chers is  Knight  of  the  Order  of  St.  Michel,  Ba- 
varia ;  Commander  of  the  French  Legion  of  Honor ; 
member  of  the  Royal  Academy  of  Berlin ;  member 

237 


THE  DREAM  CITY 

of  International  Society  of  Painters  and  SculptorSj 
London.  He  has  medals  from  Antwerp,  Amster- 
dam, Berlin,  Munich,  Venice  and  elsewhere.  His 
pictures  hang  in  the  Luxembourg,  the  National 
Gallery,  Berlin ;  in  the  private  collections  of  the 
King  of  Italy  and  the  Emperor  of  Germany. 


2:^8 


Melcher's — Mother  and  Child 

239 


THE  DREAM  CITY 


ETCHING  AND   PRINT   DEPARTMENT. 

DEVELOPMENT   OF   GRAPHIC   ART, 

ROOMS  30.  31.  32,  33,  34- 
Here,  as  with  American  painting,  the  plan  has 
been  to  carry  an  historical  sequence  from  the  earli- 
est period  down  to  the  most  recent  work,  and  it  is 
with  justifiable  pride  the  Fme  Arts  displays  the 
first  known  wood  block  of  the  Hon.  Richard 
Mather,  by  Foster,  who  graduated  from  Harvard 
in  1667  and  who  established  the  first  printing  press 
in  Boston,  in  1675. 

Paul  Revere  (the  hero  of  Longfellow's  poem)  is 
represented  by  several  engravings.  Smilie,  Jones 
and  Maverick,  all  line  engravers,  have  fine 
examples. 

Durand,  whose  history  has  been  given  in  land- 
scape painting,  is  represented  by  a  beautiful  en- 
graving of  Trumbull.  Cole,  likewise  connected 
largely  with  the  Hudson  River  landscape  men,  has 
some  scenes  from  his  "Voyage  of  Life"  series  here, 
engraved  by  Smilie. 

Sir  Thomas  Lawrence,  painted  by  himself,  is 
shown  in  a  beautiful  mezzo-tint  by  Smilie.  These 
are   all   historically   interesting   since   they    connect 

240 


ITS  ART,  STORY  AND  SYMBOLISM 

with  early  painting  and  fill  a  large  space  in  the 
artistic  efforts  of  almost  every  one  of  the  Hudson 
River  men,  who  were  painfully  given  to  detail  in 
much  of  their  work  because  of  this  training.  Jo- 
seph Wright,  whose  family  portrait  (No.  3716) 
is  so  pleasingly  done,  is  another  man  who  did  more 
or  less  engraving. 

Many  excellent  examples  of  wood,  line  and 
mezzo-tints  are  to  be  found  among  the  works  of 
Henry  Wolf,  Frederick  French,  Bernstrom  and 
others.  Timothy  Cole  is  perhaps  the  best  known 
of  these  men,  having  been  sent  by  the  Century 
Company  to  Europe  to  make  a  series  after  the  old 
masters.  These  pictures,  running  through  the  Cen- 
tury, have  made  him  prominent. 

Peter,  Thomas  and  Mary  Nimo  Moran,  together 
with  Stephen  Parish,  Otto  Backer  and  Farrer,  a 
group  of  etchers,  formed  themselves  into  the  New 
York  Etchers'  Club,  and  have  done  much  for  their 
art  and  themselves  in  the  work  they  have  accom- 
plished, and  they  are  among  others  represented  in 
the  collection. 

It  is  impossible  to  name  all  the  contributors  fill- 
ing these  delightful  rooms.  No  two  people  in  pass- 
ing will  be  charmed  by  the  same  thing,  but  the 
work  of   Franklin   Wood,  Armington   and   George 

241 


THE  DREAM  CITY 

Aid  is  well  worth  study,  while  the  dainty,  clear 
Venetian  scenes  of  J.  Andre  Smith  are  beautiful  in 
the  extreme. 

D.  C.  Sturges  has  some  fine,  strong  things  hung, 
and  Cadwalader  Washburn  calls  attention  to  him- 
self. Perham  Nahl  has  some  fascinating  mono- 
types. In  fact  these  men  have  a  quiet  charm  all 
their  own,  and  the  hours  spent  with  them  will  mean 
time  well  spent  and  delightful  memories. 

There  are  etchings,  dry  points,  soft  ground  etch- 
ings and  monotypes  in  black  as  well  as  color,  and 
it  would  seem  that  every  phase  of  this  graphic  art 
had  its  able  representative. 

Nordfeldt,  Auerbach,  Levy  and  Partridge  have 
much  that  is  interesting.  Robert  Harshe  has  some 
etchings  original  in  subject  matter,  pleasing  in  char- 
acter and  splendidly  printed. 

F.  W.  Stevens  and  wife  have  some  of  their  etched 
college  buildings  and  quadrangles,  and  Gallagher's 
Old  Boston  State  House  near  by,  makes  another 
interesting  group. 

The  part  filled  by  woman  contributors  is  not 
small  and  their  work  in  no  way  sufifers  in  compari- 
son with  the  kindred  sort  from  the  hands  of  the 
men.  Anne  Goldthwaite  has  some  graceful  danc- 
ing  figures ;    Isabelle    Pearcy    some    artistic    litho- 

242 


ITS  ART,  STORY  AND  SYMBOLISM 

graphs  of  Spain,  which  are  unusual  for  a  woman. 
Edna  Boise  Hopkins  has  some  flowers  done  in 
wood-block. 

Matilda  de  Cordoba  has  some  beautiful  heads, 
and  figures  of  children,  in  color  etching. 

Space  forbids  more  to  these  delightful  rooms,  but 
in  the  rush  of  the  play  time  stop  and  take  seriously 
the  treasures  here.  In  leaving  these  rooms  give 
attention  to  the  splendid  work  of  J.  Alden  Weir,  a 
man  known  as  one  of  the  best  American  painters. 
The  excellent  etching  of  Mr.  Weir  proves  his  versa- 
tility and  the  broad  experience  little  suspected  by 
the  busy  life  of  a  painter. 

Joseph  Pennell  has  a  whole  room  devoted  to  his 
work,  which  is  intensely  interesting.  He  was  born 
in  Philadelphia  in  1860,  and  studied  at  the  Pennsyl- 
vania Academy  of  Fine  Arts.  He  married  the  tal- 
ented American  woman,  Elizabeth  Robins,  and  they 
went  to  Europe  in  1884.  Settling  down  in  London, 
they  began  their  literary  and  artistic  careers.  They 
have  had  a  wonderfully  active  and  successful  time 
in  every  way.  They  have  worked  side  by  side — 
she  writing,  and  he  illustrating  the  pages  in  his 
own  inimitable  manner. 

Pennell  and  his  wife  have  traveled  all  the  lands 
over,  it  would  seem,  which  could  give  them  any- 

243 


THE  DREAM  CITY 

thing  new  or  picturesque  for  story  and  etching. 
They  have  been  in  Russia  and  Poland,  where  he 
did  the  Pohsh  Jews ;  in  Italy  and  Spain,  and  they 
have  given  us  many  treasures  from  these  journeys. 
In  Germany  and  in  its  quaint  towns  the  etcher  has 
found  much  material.  From  Hungary  he  brought 
back  the  gypsies.  Scotland,  Wales  and  England 
have  long  been  chosen  fields  for  operations,  every- 
thing in  London  having  served  this  inveterate 
worker. 

Lately,  Pennell  has  returned  to  the  United  States 
to  find  himself  fascinated  by  the  slender,  towering 
American  "sky-scrapers,"  which  he  has  reproduced 
in  a  series — as  many  of  his  etchings  are  given. 
Nor  does  he  confine  himself  to  etchings ;  he  has 
some  fine  lithographs  and  mezzo-tints  upon  the  wall 
of  his  one-roomed  exhibition  in  this  department. 

Frederick  Keppel  says :  "It  is  a  thing  long  to 
remember  to  see  Pennell  sketch.  In  crowded 
streets,  between  towering  buildings,  where  most 
etchers  would  take  a  sketch  he  selects  his  place 
and  there  takes  his  stand,  working  rapidly,  utterly 
heedless  of  the  passersby.  Taking  quick  glances 
at  the  scene  he  is  depicting,  he  rapidly  draws  his 
lines  with  the  etching  needle  upon  the  copper  plate 
which  he  holds   in   the  other  hand.      What  seems 

244 


ITS  ART,  STORY  AND  SYMBOLISM 

most  astonishing-  is  that  he  never  hesitates  one  in- 
stant in  selecting  the  exact  spot  on  his  plate  where 
he  is  about  to  draw  some  vital  line  of  the  picture." 

Pennell  visited  the  Panama  Canal  during  its 
construction  and  made  a  set  of  lithographs  of  that 
great  engineering  fete.  These  have  been  purchased 
by  the  Ufifizzi  gallery,  in  Florence — an  exceedingly 
great  compliment  to  the  artist,  indeed.  San  Fran- 
ciscans may  enjoy  his  fascinating  series  of  this  city, 
with  its  hills  and  unusual  features. 

Pennell  has  a  place  all  his  own  as  an  etcher. 
Since  the  death  of  Haden  he  is  easily  first,  and 
many  place  his  architectural  work  above  that  of 
Whistler,  the  great  modern  master. 

WATER  COLORS. 

The  rooms  36,  37,  38,  39  and  40  have,  again, 
many  good  things — so  many  that,  excepting  hur- 
riedly, it  is  impossible  to  deal  with  them. 

Room  36. 
Wieczorek   has   three   pleasing   portraits    in   line 
with  just  a  Httle  color  (Nos.  975,  977,  979). 

Mrs.  Lucia  Mathews  has  one  picture  in  the  center 
of  this  wall  which  stands  out  attractively,  and 
shows  to  good  advantage  in  its  surroundings.  (No, 
980). 

245 


THE  DREAM  CITY 

Sandona  has  a  group  of  four  heads  very  cleverly 
done;  they  are  all  of  the  same  girl  (No.  985). 

Mielziner  has  a  fine  portrait  head  in  black  and 
white  (No.  983). 

Everet  Shinn  has  some  pleasing  things  in  sepia 
(No.  1017). 

C.  J.  Taylor  has  a  row  of  illustrations  in  sharp 
line  which  are  peculiarly  characteristic  (Nos.  974 
to  986). 

C.  E.  Heils  has  some  beautiful  water  color  birds 
in  the  cases  in  this  room.  His  work  is  remarkable 
and  too  much  can  scarcely  be  said  of  it. 

Room  37. 

Woodbury  (the  New  England  painter)  has  a 
series  of  water  colors  in  this  room. 

Prendergast  has  a  series  of  his  water  colors  here, 
attractive  to  the  ultra-modern,  perhaps,  who  under- 
stand the  language  of  design  and  color. 

Herman  D.  Murphy  has  some  charming  little 
things,  beautifully  mounted  and  framed  (Nos. 
1 1 17-18).  His  "Skyrocket"  is  quite  after  the  order 
of  Whistler. 

Florence  Frances  Snell  has  some  pleasing  views 
from  famous  old  Rothenberg  (Nos.   1 121-22). 

C.  E.  Dana  has  some  fine  water  colors,  (Nos. 
1171-1179).      They    are    largely    architectural,    but 

246 


ITS  ART,  STORY  AND  SYMBOLISM 

he  has  used  every  vestige  of  material  in  a  pictorial 
way,  finding  color  in  stone,  using  the  pink  and  red 
of  flowers  on  gray  walls,  and  several  other  devices 
tending  toward  pleasing  qualities  in  pictures. 

Tolan  Campbell  Cooper  has  some  delightful 
things  on  this  wall,  too.  His  red  brick  house, 
Colonial  in  fashion,  with  its  trees  and  sunlight,  is 
a  beautiful  picture  (No.  1181). 

Room  38. 

This  has  many  features  charming  in  a  quiet  way 
— so  beautiful  that  many  will  miss  them  because 
they  don't  scream  for  attention.  Bronze  plaques, 
medals  and  reliefs  are  here  in  goodly  numbers,  all 
worth  study. 

Violet  Oakley's  stained-glass  window  of  Dante's 
great  work  takes  one  wall. 

Room  39. 

Is    filled    with    the    wonderfully    pleasing    phan- 

tastical  creations  of  McClure  Hamilton  (spoken  of 

elsewhere),    and    cases    containing    more    bronze 

medals.  ^ 

Room  40. 

No  one  could  fail  to  realize  that  this  room  con- 
tains treasures.  Philip  L.  Hale  and  his  wife,  Lillian 
Westcott  Hale,  have  some  fascinating  work  here 
(Nos.    171 7- 1 725).      Many    subjects    are    used    to 

247 


THE  DREAM  CITY 

express  their  skill  in  handling  pretty  women,  dainty 
children  and  still  life. 

Sears  Gallagher  (No.  1757)  has  a  beautiful  pic- 
ture called  ''From  the  Bridge." 

Helen  Chandler  (No.  1761)  has  a  fine  thing  from 
the  Nevada  desert. 

James  Henry  Moser  (Nos.  1758,  1760,  1762, 
1770,  1772,  1774)  also  gives  a  delightful  set  of 
pictures. 

Eight  splendid  pictures  represent  the  work  of 
the  man  Jules  Guerin — who  has  made,  in  a  large 
measure,  the  whole  Panama-Pacific  one  of  his 
matchless  water  colors.  It  needs  no  words  to  im- 
press anyone  standing  before  these  scenes  that 
Guerin  has  presented  every  phase  of  a  beautiful 
vision  in  each  one.  Coming  from  the  more  bril- 
liant work  in  oil,  there  is  a  dainty,  pleasing  lure 
about  these  pictures  which  some  way  is  more  illu- 
sive, more  suggestive  of  a  mystic  charm ;  and  in 
looking  into  these  bits  from  the  richly  colored  East- 
ern lands  something  of  the  presiding  spirit  of  the 
East  seems  present,  and  a  stillness  creeps  in  to  pos- 
sess one,  as  well  as  the  other  spell-laden  influences 
which  the  mysterious  East  always  casts  over  an  ob- 
server. Guerin  has  caught  it  all,  and  every  utter- 
ance is  there  in  his  matchless  collection  (Nos.  1756, 
1764-68,  1776). 

248 


ITS  ART,  STORY  AND  SYMBOLISM 

AMERICAN  ILLUSTRATORS. 

Some  fascinating  work  from  the  hands  of  the 
popular  illustrators  is  shown  in  Room  — .  In  the 
work  of  nearly  every  one  of  these  one  can  trace  the 
influence  of  Howard  Pyle. 

Ethel  Franklin  Betts  and  Anna  W.  Betts  have 
some  good  work. 

Boardman  Robinson  and  J.  Walter  Taylor  have 
illustrations  that  would  make  things  of  a  greater 
character  and  name. 

Elizabeth  Shippen  Green  has  some  pretty  colored 
illustrations,  and  Jessie  Wilcox  Smith  has  some 
others  which  tell  volumes,  and  prove  interesting  to 
old  and  young  alike. 

Four  rooms  in  the  Fine  Arts  have  been  devoted 
to  America's  best  illustrators  —  the  greatest  of 
whom  is  Howard  Pyle,  who  has  made  a  peculiar 
place  for  himself  in  art  history. 

American  illustration  is  by  far  the  best  in  the 
world,  and  it  may  well  be  counted  as  a  school  in 
itself,  with  Pyle  as  the  originator. 

Twenty  years  ago  Pyle  wrote  delightful  stories, 
which  he  illustrated  with  pen  and  ink  drawings. 
Every  man  who  illustrates  enters  more  or  less  into 
the  spirit  of  the  time  which  he  describes,  and  Pyle 
was  no  exception.     Perhaps  no  man  knows  more 

249 


THE  DREAM  CITY 

of  tlie  Colonial  and  Revolutionary  periods  of 
America  than  this  man  who  has  pictured  those 
times  to  the  magazine  public  for  years.  Isham  says 
of  him :  "Pyle  has  represented  the  founders  of  the 
Republic  as  they  were — sturdy,  hard-headed  folk, 
with  strong  characters  and  few  graces,  who  wore 
the  rather  rigid  costumes  of  the  times  with  dignity." 

Pyle  was  a  worker  of  untiring  persistence.  The 
school  he  established  was  without  parallel.  He 
never  refused  help.  People  studied  there  without 
charge;  money  would  admit  no  one.  The  pupils 
were  only  those  invited  by  Pyle.  These  students  he 
kept  in  groups.  The  newcomers  received  daily  in- 
struction, with  the  help  of  Arthurs  and  Schoonover. 
They  had  a  studio  to  themselves  where  they  studied 
until  they  became  advanced  sufficiently  to  go  to  the 
Orange-  or  Bancroft- street  studios,  where  they  re- 
ceived morning  criticism  and  took  Sunday  morning 
lectures.  The  popularity  of  this  school  in  Pyle's 
home  town — Wilmington — brought  frequent  visit- 
ors from  New  York  and  Philadelphia  for  the  Sat- 
urday afternoon  lectures. 

Pyle  added  color  to  his  illustrating,  and  a 
second  room  is  given  up  to  a  display  of  his  paint- 
ings. They  present  an  evidence  of  tremendous  tax 
upon  time  and  effort  of  this  inveterate  worker.     He 

250 


ITS  ART,  STORY  AND  SYMBOLISM 

painted,  taught,  illustrated  and  lectured,  finding 
time  between  to  write  books  so  good  that  people 
have  sometimes  believed  him  to  have  been  a  writer 
first  of  all.  Stories  like  "Pepper  and  Salt,"  "The 
Wonder  Clock,"  "Twilight  Land,"  "The  Rose  Par- 
adise," "Rejected  of  Men,"  and  of  the  "Round 
Table"  give  an  idea  of  the  wonderful  creative 
power  of  the  man. 

He  was  a  lasting  example  of  the  possibilities 
within  the  reach  of  a  man  who  wills  to  do.  "Work, 
and  you  will  feel  like  working,"  was  the  slogan  of 
this  man,  who  never  stopped  until  he  was  called 
by  death. 


251 


THE  DREAM  CITY 


THE    NATIONAL    FINE    ARTS    EXHIBITS. 

The  Chinese  exhibit  occupies  rooms  94  to  97. 
These  walls  are  hung  with  paintings  on  silk  and 
paper,  and  exquisite  cloisonne  and  lacquer  form 
much  of  the  interesting  material.  Much  of  the 
work  is  arranged  so  that  it  may  be  very  thoroughly 
studied  from  the  walls  and  there  is  also  a  very 
complete  catalogue  for  those  who  wish  to  under- 
stand. 

Water  Color  Painting — Chinese  Section. 

Medal  of  Honor — Kiang  Ying-seng. 

Gold  Medals — Su  Chen-lien,  Kao  Ki-fong,  Miss 
Shin-Ying-chin. 

Silver  Medals — Wang  Hsi-kai,  Ku  Chia  Chen, 
Liu  Tsz-hsin. 

Bronze  Medals — Chang  Chen,  Chen  Huai,  Chen 
Mai-cheo. 

Honorable  Mentions — Yu  Chin-po,  Li  Hao, 
Hwang  Ki-fang,  Kao  Siao-shan,  Han  Si-su,  Miss 
Chen  su  kong,  Nu  Su-nen. 

Sculpture. 
Gold  Medal— Teh  Chang. 
Silver  Medal — Hsun  Chun-Kao. 
Bronze  Medals — Lin  Chin-an,  Chu  Tsz  Chang. 

252 


ITS  ART,  STORY  AND  SYMBOLISM 

Carvings  in  Stone,  Wood,  Ivory,  Etc. 

Silver  Medals — Canton  Local  Commission,  Li 
Hsao-yu,  King  Hsien-san,  Wang  Hsun,  Cheo  Mei- 
ke,  Cheo  Tsz  Shan,  Chen  Yu-Chen. 

Bronze  Medals — Chuei  Ting  Chang,  Canton  Lo- 
cal Commission,  Teh  Hsin-yong. 

Honorable  Mentions — Lien  Hsun-hao,  Pao  Hui- 
leo,  Fong  Kong-tu,  Tong  Tai,  Hsin  Yeh,  Chao 
Yong-tsun. 


The  Philippine  Gallery,  No.  98,  has  something 
of  interest  if  the  visitor  will  realize  how  recent 
painting,  as  an  art  among  them,  is  to  be  considered. 
The  eye  is  attracted  immediately  by  the  paintings 
of  Felix  Hidalgo,  Nos.  10  to  20.  The  two  Japanese 
interiors  (Nos.  8  and  9)  by  Herrer  are  pleasing. 
Zaragoza's  "At  Prayer"  (No.  36)  is  attractive. 

Oil  Painting — Philippine  Section. 

Gold  Medal— Felix  R.  Hidalgo. 
Silver  Medals — Joaquin  M.  Herrer,  Fabian  de  la 
Rosa. 

Bronze  Medal — G.  O'Farrell. 


253 


THE  DREAM  CITY 

SWEDISH    SECTION. 

The  Swedish  section  embraces  rooms  99  to  107, 
and  is  one  containing  an  immense  amount  of  inter- 
est. There  is  more  that  stands  alone  here  as  really 
distinctive  art,  peculiar  to  a  people,  than  in  any  of 
the  modern  displays. 

Gallery  107  contains  the  painting  and  tapestry  of 
Gustav  Fjaestad;  these  are  worth  the  attention  of 
those  interested  and  certainly  strike  a  new  note  to 
the  visitor.  In  Sweden,  however,  these  tapestries 
are  characteristic,  and  many  of  the  paintings  of  the 
great  aquatic  birds  lend  themselves  to  the  tapestry 
designs  and  they  are  frequently  used  in  Sweden. 
Larsson's  illustrations  are  delightful  and  show  the 
inborn  love  of  the  unreal  in  this  Viking  race  of  the 
north.  Osslund's  two  pictures,  "Evening"  and 
"Summer  Evening,"  are  pleasing,  also  Lindquist's 
"Sunny  April  Day."  Anna  Wrangel's  "Old  Man," 
and  all  the  Schultzberg  pictures  are  delightful. 
Bergstrom's  work  will  attract  interest  under  any 
circumstances.  Strandberg  has  given  some  realis- 
tic drinkers,  tramps  and  typical  outcasts. 

John  Bauer's  illustrations  have  their  own  place 
which  nothing  can  touch.  Erik  Hedberg  has  a  lake 
reflecting  one  star,  which  is  oppressive  with  the 
stillness  and  hush  of  the  evening. 

In  looking  at  the  things  in  the  Swedish  rooms 
254 


ITS  ART,  STORY  AND  SYMBOLISM 

remember  J.  Alden  Weir's  words :  "Two-thirds 
of  the  things  which  we  do  not  Hke  are  things  which 
we  do  not  know."  The  Swedish  landscape  is  em- 
broidered with  tiny  lakes,  much  of  their  year  is 
winter,  when  heavy  snow  prevails,  and  their  sun- 
light comes  from  the  side,  not  overhead  as  the  light 
does  in  the  temperate  zone.  These  facts  alone  will 
account  for  much  that  is  unusual  in  the  appearance 
of  the  landscape,  and  the  fact  that  there  is  no  fog, 
no  mist,  no  haze  to  blend  the  colors  of  the  land  will 
account  for  much  that  seems  forced  in  the  vivid 
colors  used.  These  people  have  the  element  of  their 
sea-faring  fathers  in  them  and  are  among  the  most 
fanciful  and  poetic  in  temperament,  their  creative 
work  deals  very  much  with  dwarfs,  gnomes  and 
fairies ;  they  have  given  the  world  charming  and 
healthy  stories,  both  of  sea  and  land,  and  the  strain 
runs  through  all  the  creative  work  they  do. 

Liljefors,  the  recipient  of  the  grand  prize  for 
Sweden,  is  represented  by  great  bird  pieces  alto- 
gether, but  the  man  is  broad,  strong  and  versatile 
and  he  paints  landscape,  all  kinds  of  hunting  scenes, 
particularly  the  fox-hunt,  better  than  the  type  of 
picture  exhibited  here.  Those  who  visited  St.  Louis 
and  the  other  recent  expositions  will  recall  his 
work. 

255 


THE  DREAM  CITY 

Oil  Painting — Swedish  Section. 

Grand  Prize — Bruno  Liljefors. 

Medal  of  Honor — Gustaf  Fjaestad. 

Gold  Medals — Elsa  Backlund-Celsing,  Wilheim 
Behm,  Alfred  Bergstrom,  Oscar  Hullgren,  Gott- 
fried Kallstenius,  Helmer  Mas-Olle,  Helmer  Oss- 
lund,  Emil  Osterman,  Wilheim  Smith,  Axel  Torne- 
man. 

Water  Color,  Miniature  Paintings  and 
Drawings. 
Grand  Prize — Carl  Larson.  I 

Medal  of  Honor — John  Bauer. 
Gold  Medal — Oscar  Bergman. 
Silver  Medals — Caleb  Atthim,  Eva  Beve,  Ferdi- 
nand Boberg,  Gustaf e  Fjaestad. 

Etchings  and  Engravings. 
Bronze  Medal — Karl  Peterson. 
Honorable  Mention — Harriet *Sunstrom. 

Sculpture. 
Gold  Medal — Gottfried  Larsson. 
Silver  Medals — Olof  Ahlberg,  Johan  Farngren, 
Ruth  Milles,  Herman  Neujd. 

Medals. 
Gold  Medal — Eric  Lindberg. 

256 


ITS  ART,  STORY  AND  SYMBOLISM 
ARGENTINE    SECTION — GALLERY    112. 

The  art  of  this  southern  RepubHc  is  new,  those 
who  have  traveled  there  are  intensely  interested  in 
viewing  these  pictures  from  Argentine  because  the 
time  has  not  been  long  since  there  was  nothing 
there  to  speak  of,  in  the  way  of  native  art.  The 
brilliant  color  speaks  loud  and  long  of  the  Spanish 
blood,  but  there  is  little  that  reminds  of  Spain  be- 
yond that.  Of  the  pictures,  No.  lo  by  Bustillo  is 
good,  and  No.  2  is  strongly  handled.  No.  65,  Sivo- 
ri's  portrait  by  himself,  is  interesting  and  the  red 
girl  with  the  red  poppies  (No.  45)  has  a  fascina- 
tion about  it.  Some  of  the  landscape  work  is  at- 
tractive, No.  18  being  one.  The  sculpture  seems 
to  possess  more  of  the  virile  and  rugged  strength 
of  a  new  people.  Some  of  it  is  unusually  inter- 
esting. 

Oil  Painting — Argentine  Section. 

Medal  of  Honor — Antonio  Alice. 

Gold  Medals — Jorge  Bermudez,  Alejandro  Bus- 
tillo, Ernesto  de  la  Carcova,  Fernando  Fader,  Jose 
Leon  Pagano,  Octavio  Pinto,  C.  Bernaldo  de 
Quires,  Eduardo  Sivori. 

Silver  Medals — Pompeo  Boggio,  Cesar  Caggi- 
ano,  Cupertino  del  Campo,  Ceferino  Carnacini,  Pe- 

257 


THE  DREAM  CITY 

dro  Delucchi,  Alfredo  Guido,  Hector  Nava,  Alberto 
M.  Rossi,  Ana  Weiss. 

Bronze  Medals — Eliseo  Coppini,  Francisco  La- 
vecchia,  Cayetano  Donnis,  Elisa  G.  Adde,  Correa 
Morales. 

Sculpture. 
Medal  of  Honor — Pedro  Fronza  Briano. 
Gold  Medal— Alberto  Lagos. 
Silver  Medal — Herman  Cullen. 
Bronze  Medals — Hector  Rocha,  Angel  Maria  de 
Rosa. 

HOLLAND   SECTION. 

The  rooms  113-116  contain  a  display  of  pictures 
which  has  average  work  of  an  excellent  degree 
with  some  very  good  things  among  the  pictures. 
These  people  would  indeed  have  forgotten  their 
cunning  if  they  failed  to  give  us  the  interior  with 
the  busy  housewife  amidst  her  engrossing  toil.  No. 
71,  Pieters,  gives  a  woman  threading  her  needle 
with  an  interesting  light.  No.  95,  by  Tonge,  has  a 
woman  and  two  children  in  a  delightful  group. 
No.  88,  by  Smith,  gives  a  fine  old  woman  with  work 
all  about  her,  but  taking  time  to  read.  No.  42,  by 
Hyner,  is  more  pretentious  in  size  and  grouping 
but  after  all  is  an  intimate  home  picture.     No.  62, 

258 


ITS  ART,  STORY  AND  SYMBOLISM 

by  Mesdag,  is  a  fine  bit  of  the  sea.  No.  37  is  a  de- 
lightful glimpse  of  Autumn  as  it  has  reddened  the 
trees.  The  picture's  great  charm  is  in  the  reflec- 
tions and  general  quietude.  Nos.  12  and  79  deal 
with  streams  and  flowering  streams. 

Oil  Painting — The  Netherlands  Section. 

Grand  Prize — G.  H.  Breitner. 

Medal  of  Honor— M.  A.  J.  Bauer. 

Gold  Medals— David  Bautz,  G.  W.  Dysselhof, 
Arnold  Marc.  Gorter,  Johan  Hendrik  van  Masten- 
brock,  Albert  Roclofs,  Hobbe  Smith,  W.  B.  Tholen. 

Silver  Medals — Henriette  Asscher,  C.  Breeden- 
burg,  C.  O.  B reman,  M.  Kramer,  Willy  Martens, 
Martin  Monnickendam,  David  Schulman,  Willy 
Sluiter,  J.  Z.  Zoetelief  Tromp,  Hendrik  Jan  Wal- 
ter, J.  H.  Weyns. 

Bronze  Medals — Anne  E.  Kerling,  Lammert  van 
der  Tonge,  Jacques  Zon. 

Etchings  and  Engravings. 
Gold  Medal— T.  H.  Van  Hoytema. 
Silver  Medals — E.  Bosch,  Jan  Poortenaar. 
Bronze  Medals — W.  de  Zwart,  S.  Moulin. 
Silver  Medal — Charles  Van  Wyck. 
Honorable    Mention — Abraham    Hesselink. 

259 


THE  DREAM  CITY 
PHIILIPPINE    SECTION. 

Gallery  98.  This  room  attracts  because  it  is 
scarcely  believed  that  these  islanders  have  taken 
time  to  think  along  this  line.  While  great  influence 
from  the  outside  is  remarkable,  there  is  a  growth 
evident  and  they  interest. 

Oil  Painting — Philippine  Section. 

Gold  Medal— FeHx  R.  Hidalgo. 

Silver  Medals — Joaquin  M.  Herrer,  Fabian  de  la 
Rosa. 

Bronze  Medal — G.  O'Farrell. 


PORTUGUESE  SECTION. 

Gallery  109-111.  In  these  pictures  one  finds  the 
modern  type  of  finish,  subject  and  the  Spanish  love 
of  bright  colors.  _  The  problems  which  have  inter- 
ested the  modern  painters  have  not  bothered  these 
men  of  Portugal  but  their  rooms  have  their  own 
charm. 

Oil  Painting — Portuguese  Section. 

Grand  Prize — Jose  Malhoa. 

Medal  of  Honor — Jose  Veloso  Salgado. 

Gold  Medals — Arthur  Alves  Cardoso,  Ernesto 
Ferreira  Condeixa,  Joao  Vaz. 

Silver  Medals — Jose  de  Brito,  David  de  Melo, 
Mily  Possoz,  Joao  Trigoso. 

260 


ITS  ART,  STORY  AND  SYMBOLISM 

Bronze  Medals — Jose  Campas,  Martinho  Gomes 
da  Franseca,  Antonio  Manuel  da  Saude,  Jor  Jose 
Nunes  Ribeiro,  Joao  Reis. 

Water  Color,  Miniature  Painting 
and  Drawings. 
Bronze    Medals — Mateso     da     Fonseca,     M  i  1  a 
Possoz. 

Sculpture. 
Silver  Medal — Antonio  Costa  Mota. 
Bronze    Medal — Jose    Simoes    d'Almerida    Seb- 
rinho. 

Honorable  Mention — Julio  Vaz  Jor. 


261 


THE  DREAM  CITY 


THE  WOMEN'S  ROOM. 

In  Room  No.  65  we  have  one  of  the  most  attrac- 
tive galleries  possible.  In  many  ways  it  is  an  un- 
usual collection  of  pictures  one  sees  there,  no  room 
is  more  versatile  in  character  and  no  room  dis- 
plays greater  talent  as  a  whole.  All  the  work  here, 
both  painting  and  sculpture,  is  from  the  hands  of 
women  artists,  some  of  them  ranking  among  the 
very  best  in  the  art  world  and  some  others  deserv- 
ing a  higher  place  which  this  exhibition  will  give 
them.  It  surely  is  a  delight  to  realize  that  these 
things  come  directly  from  the  hands  of  our  talented 
American  women  and  some  time  given  to  the  study 
of  these  pictures  will  be  well  spent,  and  it  will  mean 
added  pleasure  in  the  knowledge  that  such  a  group 
of  gifted  artists  is  to  be  found  among  our  women. 

A  portrait  of  Mrs.  Swan,  No.  2996,  by  Adelaide 
Cole  Chase,  is  a  charming  bit  of  work.  Nothing 
extraneous,  nothing  to  trick  the  attention  of  the 
passerby,  save  a  pleasant  face  made  by  a  clever 
hand  into  a  most  pleasing  portrait. 

Ellen  Emmet  Rand,  born  in  San  Francisco,  has 
a  series  of  delightful  pictures.  Her  boy  with  the 
red   sweater   and  baseball   bat   is   a  gem    (2986)  ; 

262 


ITS  ART,  STORY  AND  SYMBOLISM 

everybody  gives  him  time  as  they  take  in  his  part 
of  the  wall.  Her  portrait  of  Professor  William 
James  and  Madam  M.  P.  T.  are  also  well  done, 
while  the  little  girl  with  the  black  cat  runs  a  close 
second  to  the  boy  in  popularity.  Mrs.  Rand  has 
studied  in  New  York  and  in  Paris ;  her  work  shows 
to  what  purpose.  A  resident  of  New  York,  the 
West  has  lost  her,  but  it  is  a  pleasure  to  view  her 
work. 

Mrs.  Lillian  Hale,  pupil  of  Chase,  Tarbell,  and 
pupil  and  wife  of  Philip  Hale,  has  two  small  can- 
vases (2997  and  2998)  on  this  wall.  These  pic- 
tures are  decorative  figures,  dainty  and  pleasing, 
but  not  more  so  than  her  work  in  black  and  white 
spoken  of  elsewhere. 

Alice  Kant  Stoddard  has  an  attractive  picture  of 
two  girls,  No.  2994. 

Nos.  3002,  3003  and  3004,  by  H.  Hailman,  make 
three  interesting  pictures,  unusual  in  subject  matter 
and  pleasingly  handled.  Gretchen  Rogers  of  Bos- 
ton has  two  portraits  (Nos.  3007  and  301 1)  on  the 
same  wall  which  show  good  treatment. 

Violet  Oakley,  a  pupil  of  Asl,  New  York,  Pafa 
under  Howard  Pyle  and  Cecilia  Beaux,  Aman-Jean 
and  Lazar  in  Paris,  has  one  picture  on  this  wall. 
No.  3015,  called  the  "Tragic  Muse."     Miss  Oakley 

263 


%^:i  -,  **■..:■    -4-  / 


t^^^t    '^'^'jf^ 


3Iother   and    Child — Mary   Casaatt 

264 


ITS  ART,  STORY  AND  SYMBOLISM 

has  done  some  notable  mural  work  lately  as  well  as 
illustrating  and  work  in  stained-glass. 

The  woman  perhaps  of  whom  most  has  been 
said,  whose  pictures  hang  here  is  Mary  Cassatt. 
Three  of  her  canvases,  Nos.  3006,  3008,  3010,  give 
some  idea  of  this  talented  woman's  work  but 
scarcely  the  best  conception  can  be  obtained  from 
them. 

Mary  Cassatt  has  for  years  been  prominent  in 
the  art  circle  of  Paris.  She  had  studied  for  some 
time  before  she  exhibited  with  the  Impressionists 
in  1878.  She  is  the  only  American  woman  who  can 
claim  to  have  come  out  on  the  side  of  Monet,  Sisley, 
Renoir  and  those  interested  in  the  new  theory  of 
the  prismatic  light. 

Much  has  been  said  and  written  in  praise  of  the 
work  of  this  woman,  the  French  Prime  Minister 
spoke  of  her  once  as  "One  of  our  artistic  glories." 
She  became  known  most  widely  in  the  United 
States  perhaps  by  her  work  for  the  Women's  build- 
ing in  Chicago  at  the  World's  Fair.  She  has  won 
medals  and  prizes,  and  has  pictures  in  the  best  gal- 
leries. 

Miss  Cassatt  works  in  various  mediums,  oils, 
pastels  and  dry  points.  She  is  uncompromising  with 
her  subjects  and  shuns  the  pleasing,  or  pretty,  until 

265 


THE  DREAM  CITY 

it  seems  almost  too  great  an  effort,  one  of  which 
the  visitor  is  conscious,  particularly  in  3008  and 
1 3 10.  Children,  babies  in  the  mother's  embrace, 
etc.,  serve  her  most  frequently  as  material  for  pic- 
tures. Her  babies  being  among  the  few  which  sat- 
isfy the  practical  physician  whose  experience  gives 
him  ideas  demanding  much  knowledge  upon  the 
part  of  the  artist  in  handling  the  baby  form.  She 
paints  the  American  mother  with  her  French  tech- 
nic  often  in  a  most  fascinating  manner. 

This  mother  and  baby  of  Miss  Cassatt  can  scarce- 
ly be  counted  one  of  her  best,  but  they  are  pleasing. 

Miss  Cassatt  owns  a  chateau  near  Chantilly  and 
has  an  apartment  in  Paris  where  she  frequently 
entertains  her  friends ;  but  the  curious  ones  receive 
little  from  her  hands,  as  she  holds  herself  aloof  and 
is  difficult  to  see.  Knowing  this  characteristic  her 
friends  have  been  greatly  surprised  at  her  accept- 
ance of  the  prominent  work  among  the  girl  stu- 
dents in  Paris,  also  the  Honorary  Presidency  of  the 
Art  League. 

Mrs.  Coman,  a  New  York  painter,  has  (No. 
3013)  a  delightful  landscape  hanging  on  this  wall. 
Mrs.  Coman's  work  is  poetical  and  dainty  and  quite 
a  change  from  the  more  realistic  landscape  work 
of  the  other  women  near.    This  painter  has  worked 

266 


ITS  ART,  STORY  AND  SYMBOLISM 

under  James  Brevoort  and  Harry  Thompson  in 
New  York  and  Emil  Vernier  in  Paris. 

Grace  Ravlin,  a  pupil  of  Pafa  under  Chase  and 
Lefebvre  in  Paris,  has  two  pleasing  Italian  land- 
scapes, Nos.  3017  and  3018. 

Mary  L.  Coolidge,  a  pupil  of  W.  D.  Hamilton, 
and  Tarbell,  has  a  picture  that  is  fascinating  in  sub- 
ject and  an  interesting  treatment   (No.  3026). 

The  sculpture  in  Room  65  in  a  delightful  feature, 
and  again  all  from  the  hands  of  women.  It  is  a 
surprise  to  see  with  what  power  some  of  these 
animal  groups  have  been  given,  Anna  Vaughan 
Hyatt  has  a  fine  group  of  colts,  huddling  together 
for  protection  in  the  storm.  The  way  they  crouch 
down  and  make  one  feel  the  bitterness  of  the 
weather  is  wonderful  for  form  and  mettle.  Her 
eight-horse  group  is  full  of  vigor  and  action  and  a 
fine  conception  of  motion. 

A.  Eberle  has  a  case  containing  twelve  delightful 
statuettes.  "The  Windy  Door  Step"  (No.  3053) 
tells  all  the  story  of  the  wind  and  a  skirt.  Nos. 
3050  and  3055  are  pleasing  in  "Solitude"  (No. 
3058)  is  full  of  feeling. 

Bessie  Vonnoh  Potter  has  some  beautiful  things 
in  another  case.  She  has  some  splendid  mothers 
with  children.     Her  work  is  all  graceful,  yet  there 

267 


THE  DREAM  CITY 

is  the  substantial  in  evidence  too;  and  a  pleasure  is 
forthcoming  peculiarly  Mrs.  Potter's  own  when  she 
compels  the  visitor  to  look  at  her  children  and 
graceful  women.  No.  3064  is  dainty  and  graceful ; 
No.  3068  is  good ;  No.  3062  is  the  little  "Good- 
night" which  tells  much,  and  No.  3061,  "En- 
throned," is  a  thing  to  remember. 

Jean  McLane's  three  pictures  are  all  along  a  dif- 
ferent line,  the  individuality  of  the  artist  speaking 
strongly  throughout  the  series.  This  artist  was 
born  in  Chicago  and  has  been  a  pupil  of  both  Chase 
and  Duveneck.  She  has  received  many  honors  and 
is  justly  admired.  Her  picture  of  the  mother  and 
children  makes  a  delightful  canvas ;  while  the  pic- 
ture of  the  brother  and  sister  is  pleasing,  and  the 
portrait  of  the  Mrs.  Arnold  is  possibly  the  best 
work  of  the  three.  The  color  combination  being 
more  in  contrast  makes  richer  effects  and  the  whole 
is  benefited  thereby.  Jean  McLane  is  the  wife  of 
the  talented  artist  Johansen,  whose  pictures  are  to 
be  found  in  Room  68. 

Cecilia  Beaux  has  for  a  long  time  been  spoken 
of  as  "a  painter,"  no  longer  as  a  woman  painter. 
William  M.  Chase  pronounces  her  possibly  the 
greatest  portrait  painter  living.  She  is  represented 
by  seven  pictures  in  the  women's  room,  and  fine 

268 


ITS  ART,  STORY  AND  SYMBOLISM 

pictures   they   are,    characterized   by   all   the   finer 
qualities  of  artistic  feeling. 

Miss  Beaux  has  long  delighted  to  paint  white 
which  contains  all  colors,  her  work  shows  this  to 
be  a  joy  and  almost  gleams  with  the  color  as  she 
lays  it  on.  It  is  told  of  her  that  before  the  light 
canvases  had  gained  popularity  she  submitted  one 
to  the  Paris  Salon,  which  was  promptly  rejected. 
The  painter  suspected  that  her  picture  had  been 
too  white  for  the  conservative  judges  so  she  painted 
a  dark  background  in  and  submitted  it  again ;  this 
time  the  picture  was  accepted. 

Miss  Beaux  was  born  in  Philadelphia  and  began 
her  artistic  career  by  drawings  on  stone  of  fossils. 
She  has  long  since  been  her  own  master,  however, 
doing  what  she  would  and  meeting  with  approval 
all  along  the  line  of  her  endeavor. 

The  picture  of  the  "New  England  Woman"  is  a 
fine  study  in  reflected  lavender  tones  and  the  simple 
detail  goes  far  to  make  it  a  picture  every  one  can 
appreciate.  The  portrait  of  the  man  is  very  un- 
usual and  the  cat  in  his  lap  is  more  so.  The  cat  is 
wonderfully  well  painted  however,  and  from  a 
little  distance  the  fur  has  a  lifelike  quality  scarcely 
believable.     Cecilia  Beaux  must  take  keen  pleasure 

269 


THE  DREAM  CITY 

in  painting  cats,  for  there  are  two  in  these  seven 
pictures. 

The  two  small  children  are  delightful  as  she  has 
given  them  here ;  they  are  painted  in  a  severely  sim- 
ple manner  yet  they  please  and  charm  from  first  to 
last.  The  painter  has  resorted  to  no  device,  no 
tricks,  no  flowers,  no  little  thing  tossed  in  for  color 
and  a  scheme,  one  baby  walking  along  with  its 
nurse,  who  is  cut  off  the  canvas  below  the  waist, 
and  the  other  child  engrossed  in  a  dancing  lesson ; 
nothing  in  the  way  of  a  story  to  tell,  no  hidden 
meaning,  everything  on  the  surface,  pictures  for 
the  sake  of  the  pictures. 

Cecilia  Beaux  is  great  and  she  deserves  the  praise 
she  receives.  It  takes  courage  to  express  always 
the  thing  deepest  in  the  mind  when  it's  proving  a 
popular  utterance  depends  largely  upon  the  un- 
tutored public. 

The  pictures  numbered  2984,  2985  and  3027  are 
delightful  in  character  and  they  come  from  the  easel 
of  one  of  California's  most  talented  women.  Mary 
Curtis  Richardson  has  a  way  all  her  own ;  a  feeling 
fine  and  tender;  subject  matter  which  she  varies 
yet  its  note  always  rings  true.  There  is  a  sugges- 
tion of  reserve  about  this  painter's  work  which  con- 

270 


ITS  ART,  STORY  AND  SYMBOLISM 

vinces  one  always  that  the  whole  has  in  no  way 
been  said  when  it  comes  to  the  necessary  outpour- 
ing of  the  technic,  and  inspiration  required  for  the 
production  of  a  picture. 

The  four  pictures  here  being  very  different  in 
their  handling,  show  her  versatility  and  strong  feel- 
ing. "Undine"  (No.  2985)  is  a  young  immature 
girl,  looking  out  upon  the  immediate  future  with  a 
half  comprehensive  gaze  as  if  she  expected  some 
revelation  which  could  prove  enlightening.  She  is 
not  beautiful,  but  the  vanishing  childhood  and  the 
coming  maidenhood  is  placed  charmingly  in  the 
girl's  earnest  face.  The  name  Undine  and  the  green 
color  are  both  suggestive  of  the  sea  which  would 
make  more  poetical  and  elusive  any  secrets  the 
little  maid  might  wring  from  the  revealing  powers. 

The  portrait  of  Prof.  Paget  is  a  fine  picture  with 
enough  of  the  thoughtful  student's  mind  to  interest 
any  one  (No.  2984),  "The  Sleeping  Child"  (No. 
2612  in  room  56)  is  to  many  the  most  delightful 
of  the  four.  An  earnest,  loving,  beautiful  mother, 
with  all  the  responsibility  of  her  motherhood  writ- 
ten upon  her  face,  holds  in  her  arms  a  nestling, 
sleeping  baby.  The  weight  of  the  little  sleeper  is 
given  well  and  the  whole  attitude  of  mother  and 
child  is  splendidly  carried  out.  The  picture  has  in- 
tense feeling  and  one  stands  awed  into  silent  appre- 

271 


THE  DREAM  CITY 

elation  of  the  fine,  motherly  woman  who  In  loving- 
embrace  clasps  her  sleeping  child.  If  In  this  picture 
Mrs.  Richardson  gives  us  the  woman  keenly  alive 
to  maternal  duty,  in  "The  Young  Mother"  (No. 
3027)  she  has  given  us  the  very  essence  of  the 
young  woman  whose  first  baby  is  still  a  delight,  so 
new  and  so  pleasing  that  it  partakes  of  the  over- 
whelming joy  of  the  tiny  girl's  first  glorious  doll. 
The  baby  has  just  pulled  away  from  the  breast  an 
instant  to  look,  and  has  been  taken  in  this  position ; 
a  dear,  lovable  picture,  with  a  beautiful,  girl 
mother  whose  pretty,  reddish  gold  hair  gives  the 
note  of  color  for  the  gold  fish  in  the  bowl.  The 
design,  the  yellowish  color  of  the  couch,  the  ex- 
quisite white  in  the  dress,  the  whole  composition, 
certainly  makes  one  of  the  most  beautiful  if  not  the 
most  beautiful  picture  in  the  room  of  woman 
artists. 

Mary  Curtis  Richardson  has  been  highly  appre- 
ciated in  New  York  where  several  of  her  pictures 
are  owned.  William  MacBeth,  who  has  the  large 
gallery  in  New  York,  paid  all  the  expense  attached 
to  transporting  and  placing  an  exhibition  of  Mrs. 
Richardson's  paintings  in  his  studio  recently.  He 
generally  charges  not  less  than  $1500  rental  for  the 
rooms ;  it  can  be  seen  how  he  valued  Mrs.  Richard- 

272 


273 


THE  DREAM  CITY 

son's  work.  This  New  York  exhibition  brought 
about  one  in  Philadelphia  and  one  in  Washington, 
D.  C,  and  still  another  in  Buenos  Ayres — and  San 
Francisco  may  well  be  proud  of  this  painter  whose 
pictures  stand  out  and  hold  their  own  with  Mary 
Cassatt,  Jean  McLean  and  Cecilia  Beaux. 


274 


IIS  ART,  STORY  AND  SYMBOLISM 
THE   BOSTON    SCHOOL. 

The  Boston  group  of  men  have  many  pictures 
admired  by  the  visitors  to  the  Fine  Arts.  Room  80 
contains  seven  canvases  by  William  MacGregor 
Paxton  which  attract  a  great  deal  of  attention. 
They  have  a  finish  which  is  even  and  smooth  to  an 
exquisiteness.  The  Daylight  and  Lamplight  (No. 
3773)  is  a  fine  play  of  reflected  lights;  his  Glow  of 
Gold  and  Gleam  of  Pearl  (No.  3808)  is  one  of  the 
nudes  most  admired.  Hanging  near  it  in  a  like 
position  upon  the  wall  is  Philip  L.  Hale's  "Tower 
of  Ivory"  (No.  3804).  The  figure  really  seems 
of  the  column  and  as  pure.  The  picture  is  a  schem.e 
in  white  and  blue  carried  out  to  a  perfect  conclu- 
sion. The  work  of  these  men  is  the  work  of  ex- 
tremists in  the  way  of  finish  and  refinement. 

Of  great  contrast  is  the  work  to  be  found  across 
the  way  in  room  51,  where  Robert  Henri,  Glackens, 
Sloan  and  some  of  the  men  who  are  among  the 
more  daring  of  the  young  painters  are  hung;  Henri, 
Sloan,  Lukes,  Davies,  Glackens,  Shinn,  Lawson  and 
Prendergast  have  formed  a  society  of  eight  and  call 
themselves  "The  Independents."  They  are  decry- 
ing all  academical  things,  screaming  at  tradition ; 
putting  things  down  in  pure  color  with  no  half 
tones  and  doing  things  along  lines  in  a  manner 
altogether  different. 

275 


Hale's    Tower    of    Ivory. 

276 


ITS  ART,  STORY  AND  SYMBOLISM 

They  have  had  the  academic,  have  been  of  it, 
but  feel  the  need  of  a  new  note  and  have  in  conse- 
quence departed.  They  work  Hke  mad.  Robert 
Henri  will  complete  things  in  a  single  effort  or  feel 
it  scarcely  worth  while.  This  means  big  technic, 
big  scope,  and  great  power,  tremendous  endu)-- 
ance,  but  not  necessarily  ideally  constructed  pic- 
tures. They  possess  a  charm  however;  they  are 
compelling  and  they  demand  attention  if  the  visitor 
by  any  chance  should  pass  before  them. 


7/ 


THE  DREAM  CITY 


INTERNATIONAL  SECTION. 


This  section  of  the  Fine  Arts  is  going  to  be  the 
one  which  will  perhaps  cause  more  flury  than  any 
other  exhibition.  In  it  we  have  the  first  real  things 
from  the  hands  of  the  ultra-moderns. 

Several  rooms  in  the  annex  are  given  up  to  the 
large  and  comprehensive  display  of  Hungarian  pic- 
tures. The  art  of  this  land  is  not  old,  its  people 
have  been  so  torn  with  war  and  rumors  of  war  that 
it  is  only  in  the  last  fifty  or  sixty  years  they  have 
been  painting.  There  is  one  room  given  to  retro- 
spective Hungarian  Art,  three  rooms  to  the  aca- 
demic, two  to  modern,  one  to  the  ultra-modern,  and 
one  to  graphic  art.  These  people  start  with  a  con- 
servative manner  and  certainly  keep  the  interest  of 
the  visitor  as  the  progress  appears  in  their  efforts. 
They  adopt  the  ideas  of  the  progressive  and  finally 
come  to  this  ultra-modern  where  the  cubist  is  to  be 
recognized.  They  bring  in  unusually  strong,  vig- 
orous colors.  Several  of  these  Hungarian  painters 
have  been  recognized  as  men  of  ability  and  note, 
and  requested  to  put  their  portraits  in  the  Ufizzi, 
which  determines  matters  largely  as  to  standards 
in  Europe. 

The  Norwegian  art  in  the  International  Section 
will  be  interesting.     It  has  to  deal  again  with  the 

278 


ITS  ART,  STORY  AND  SYMBOLISM 

north  land,  new  to  many,  with  pecuHar  atmospheric 
effects  without  mist  and  fog,  the  northern  sun  and 
Hght  which  changes  nature  at  times  so  materially 
in  appearance.  There  will  be  an  exhibition  of  sev- 
eral Finnish  artists  as  well.  They  will  have  their 
story  to  tell,  for  the  individuality  and  the  charac- 
teristics of  these  northern  men  are  so  great  that 
they  cannot  create  and  not  betray  the  things  which 
lie  deep  in  their  blood. 

The  English  work  in  the  International  is  good. 
John  Quincy  Adams,  Reginald  Jones,  J.  Kerr  Law- 
son  are  among  the  English  exhibitors  together  with 
Laura  and  Harold  Knight  who  are  great. 

The  German  art  is  represented  by  Becker,  Rich- 
ard Kaiser,  Heinrich  Kuirr,  Franz  Von  Stuck  and 
others. 

Spain  has  a  fine  display  of  her  modern  men.  All 
that  is  characteristic  of  Spain  fairly  beams  from 
these  canvases.  Spain  loves  the  interiors — the 
genre,  and  it  is  here ;  Spain  loves  color  and  it  is 
here  galore.  Truly  the  art  of  Spain  fairly  rings 
with  the  land  which  produces  it. 

It  is  not  difficult  to  prophesy  that  the  room  which 
will  attract  the  most  in  the  Fine  Arts  Annex  will 
be  the  Futurists  of  Italy.  These  are  studies  to 
develop  gray  matter  in  the  brain,  and  possibly  to 
deepen  the  lines  about  the  mouth  in  case  one  can- 
279 


THE  DREAM  CITY 

not  refrain  from  laughter.  It  is  a  room  filled  with 
glowing  examples  of  these  artists  who  seem  to  have 
cast  aside  everything  we  have  ever  known  as  the 
semblance  of  form  or  beauty  and  in  its  stead  have 
given  something  in  the  nature  of  a  colored  geomet- 
rical hash,  with  a  title  to  help  the  puzzle,  and  at  the 
same  time  utterly  baffle  any  one  willing  to  see,  if 
sight  be  possible.  Many  writers  and  critics  feel  that 
there  is  nothing  in  the  work  of  these  men  beyond 
impudence.  Their  work  as  the  work  of  children 
would  never  attract  the  notice  of  an  art  critic,  but 
because  they  do  insist  upon  saying  things,  and  call- 
ing their  pictures  names,  they  have  the  people  at 
least  attracted.  Christian  Brinton  has  perhaps 
treated  them  with  more  seriousness  than  any  other 
American  critic.  He  does  not  feel  that  they  have 
made  a  demonstration  of  their  ideals  that  is  alto- 
gether satisfactory  but  he  says  something  which 
should  make  people  stop  and  think ;  Brinton  reminds 
the  people  that  the  world  was  forced  to  make  way 
for  Monet  and  his  light  theory ;  and  Roentgen  with 
his  X-ray  has  made  good ;  then  he  asks  if  it  may 
not  be  possible  for  these  artists  to  get  motion  into 
their  pictures?  Maybe  they  will,  who  can  tell? 
The  lesson  taught  by  the  past  is  that  the  fuss  and 
fury  over  the  innovation  and  innovator  generally 
subsides  only  when  the  public  has  had  to  accept  the 
280 


ITS  ART,  STORY  AND  SYMBOLISM 

innovation  and  more,  and  that  the  heretic  of  yester- 
day is  the  prophet  today. 

Oil  Painting — International  Section. 

Medals  of  Honor — Axel  Gallen,  Eliseo  Melfren, 
Franz  von  Stuck,  Heinrich  von  Zugel. 

Gold  Medals — John  Quincy  Adams,  Curt  Agathe, 
Conde  de  Aguiar,  Gonzales  Bilbao,  Istvan  Csok, 
Harold  Knight,  Laura  Knight,  Heinrich  Knirr, 
Lajos  Mark,  Julius  Olssen,  Leo  Putz,  George  Sau- 
ter,  C.  W.  Simpson,  Harold  Speed,  H.  Hughes 
Stanton,  Carlos  Vasquez,  Janos  Vaszary,  Valentin 
de  Zubiarre. 

Silver  Medals — Count  C.  Y.  Batthyanyi,  Miska 
Bruck,  F.  Cabrera  Canto,  Juan  Gardona,  Horatio 
Gaigher,  Gyula  Clatter,  Oszkar  Glatz,  W.  G.  von 
Glehn,  R.  G.  Goodman,  Baron  F.  Hatvany,  Pal 
Javor,  B.  Karlovsky,  Ferenez  Lipoth,  Baron  Med- 
nyansky,  Jose  Lopez  Mesquita,  Peter  Paul  Muller, 
Nadler,  Jan  Preistler,  Oscar  Schanze,  Max  Thedy, 
Walter  Thor,  Geza  Vastagh,  Herman  Volkering, 
Ramon  Zubiarre. 

Bronze  Medals — E.  W.  Christmas,  Isobel  A. 
Dods-Withers,  Herbert  Draper,  Louise  Ginnett, 
Jane  Emmett  von  Glehn,  Constantino  Gomez,  Wil- 
helm  Hambuchen,  Erich  Kips,  J.  Ker  Lawson,  Juan 
Llimona,  Gustav  Mannheimer-Magyar,  L.  Rich- 
mond. 

281 


THE  DREAM  CITY 

Honorable  Mentions — Juan  Biazas  Carrati,  Kris 
ten  Holbo. 

Etchings  and  Engravings. 

Medal  of  Honor — Frank  Brangwyn. 

Gold  Medals— R.  G.  Goodman,  Bela  Ultz,  Willy 
Pegany. 

Silver  Medals — Bela  Erdossy,  L.  H.  Jungnickel, 
Walter  Klemm,  Robert  Lenard,  Josef  Rippi-Ronay, 
Ferdinand  Schmutzer,  C.  Vondrous,  Oszkar  Glatz, 
Baron  F.  Hatvany,  Sandor  Nagy,  Gyenes  Githa 
Walleszne. 

Bronze  Medals — Jose  T.  Artigas,  Alfred  Bent- 
ley,  G.  Jilovsky,  T.  Kasimir-Hoennes,  Lajos  Papp, 
Istvan  Prihoda,  T.  F.  Simon,  Andor  Szekely,  Mik- 
los  Vadasy. 

Honorable  Mentions — H.   Hanisch,  Gyula   Kon- 

rad.  o     1   . 

Sculpture. 

Silver  Medals — Jose  Canallias,  Imre  Simay. 

Bronze    Medals — Frederico    Mares,    E.    O.    Ro- 

sales,  Lajos  Pick,  Ede  Teles,  Mark  Vedres. 

Honorable   Mention — Erzsi    Fehervary,   Esteban 

^^^*-  Medals. 

Gold  Medal— Ede  Teles. 

Silver  Medals — O.  Fulop  Beck,  Gyula  Murany. 
Bronze  Medal— A.  R.  Zutt. 

282 


ITS  ART^  STORY  AND  SYMBOLISM 


Post-Impressionism,  Futurism,  Cubism. 

In  music,  religion,  literature  and  art  the  last  ten 
years  has  marked  great  unrest,  an  incessant  ques- 
tioning, a  seeming  disturbance  which  threatens  the 
established  forms,  dogmas,  standards  and  ideals  in 
each  field  of  thought.  No  such  season  of  ferment 
has  ever  passed  by  without  a  great  clearing  up  of 
conditions,  and  there  is  every  reason  to  believe 
this  one  will  result  in  good  in  like  measure.  It 
seems  at  the  present  time  impossible  to  detect  the 
meaning  of  things  beyond  having  sensed  the  gen- 
eral unrest  and  evident  dissatisfaction  with  pre- 
vailing ideas  and  ideals. 

The  three  painters  who  stand  at  the  head  of 
this  last  movement  in  the  art  world  are  Cezanne, 
Gauguin,  and  Van  Gogh. 

Paul  Cezanne  was  the  son  of  a  rich  banker  of 
Aix.  He  was  a  college  graduate  and  a  student  of 
the  law ;  he  studied  painting  in  Paris  at  Academie 
Suisse.  His  pictures  leave  the  impression  of  an 
awkward,  uncouth  boy,  possessed  of  a  good  heart 
with  nothing  sentimental  or  emotional  about  him. 
Pissarro  painted  his  portrait  and  the  New  York 
Sun  says  of  it:    'Tt  is  a  savage  portrait  of  Cezanne, 

283 


THE  DREAM  CITY 

like  a  sallow  little  Syrian  huckster,  or  gnome,  all 
hunched  up,  neck  collapsing  in  his  coat  collar,  his 
hands  clasped  for  warmth,  with  a  sly,  eager  little 
black  eye  that  seems  to  burn  with  curiosity  into 
one."  Cezanne  is  always  spoken  of  as  the  leader 
of  Post-Impressionism.  His  theory  that  everything 
in  nature  is  modeled  on  the  lines  of  the  sphere, 
cone  or  cylinder  made  it  necessary  that  every  one 
should  know  how  to  paint  these  simple  figures,  and 
here  in  the  sphere,  cone  and  cylinder  lies  the  alpha- 
bet of  Cubism.  The  idea  of  the  cube's  great  place  in 
art  is  not  new.  The  Chinese  and  Japanese  have 
known  of  it  for  centuries.  Durer,  the  German  ar- 
tist, practiced  it  three  hundred  years  ago.  Durer 
sets  up  the  human  figure  geometrically,  exactly  as 
he  would  a  building.  He  prefaces  his  book  with  the 
remark,  "Here  begins  the  power  of  the  line  of  por- 
traiture as  taught  by  the  art  of  geometry."  Then 
follow  many  figures  and  faces  drawn  according  to 
geometrical  rule.  Cezanne  saw  things  exactly  as 
they  are  and  he  put  them  down  as  he  saw  them. 
In  many  instances  other  artists  know  these  unusual 
things  to  be  true,  but  custom,  and  the  painting  of 
appearances  rather  than  the  painting  of  truth  have 
led  them  to  follow  in  the  old  path.  Cezanne  puts 
down  the  holes,  dents,  and  unevenness  which  exists 

284 


ITS  ART,  STORY  AND  SYMBOLISM 

in  every  circular  surface  exposed  to  bright  light. 
This  astonishes  beyond  measure  the  layman  who 
has  seen  by  the  sense  of  touch,  or  not  at  all,  and 
is  unconscious  of  this.  Rodin  delights  in  studying 
the  antique  marble  statue  by  lamp-light  when  all 
the  little  indentations  are  shown  by  the  shadows 
and  light.  The  Greeks,  then,  knew  of  this,  never- 
theless, it  is  a  phase  the  world  will  scarcely  accept 
and  the  layman  will  probably  go  on  preferring  the 
fiction  rather  than  this  strange  truth. 

Gauguin  and  Van  Gogh  both  owe  much  to 
Cezanne.  They  were  a  strange  trio,  all  were  pe- 
culiar, lonely,  forlorn  men,  given  to  moods  and 
depression. 

Gauguin  was  the  son  of  a  Breton  father  and  a 
Peruvian  Creole  mother.  He  was  on  the  stock 
exchange  until  he  was  thirty-six  years  of  age,  when 
he  decided  to  devote  himself  to  painting.  He 
studied  with  Pissarro  on  Sundays.  He  went  into 
Brittany  and  painted  the  peasants  for  awhile,  then 
he  went  to  Martinique,  where  he  found  a  great 
deal  of  color;  from  there  he  returned  to  Paris,  al- 
ways under  the  influence  of  Cezanne  and  Manet. 
Finally  he  forsook  all  manner  of  his  early  training 
and  evolved  some  rules  for  himself ;  he  painted 
from  memory,  had  a  model  but  never  painted  from 

285 


THE  DREAM  CITY 

it.  He  never  saw  contrasts  of  color,  always  har- 
monies ;  he  painted  from  light  to  dark,  never  fin- 
ished, never  used  details,  painted  by  instinct,  never 
used  broken  color,  he  always  sought  decorative  and 
musical  effects.  Gauguin  and  his  followers  hated 
the  teachings  of  Monet,  their  aim  being  to  return 
to  savage  primitivism.  Gauguin  longed  for  soli- 
tude, a  far-away  land  of  silence,  forests  and  torrid 
heat.  In  1891  a  benefit  arranged  by  his  friends 
made  it  possible  for  him  to  go  to  Tahiti.  In  two 
years  he  returned  to  Paris  where  he  bored  the 
people  and  Carriere  paid  his  way  back  to  the  island 
where  he  lost  faith  in  himself  and  died  in  1903. 

Vincent  Van  Gogh,  the  third  of  these  Post-Im- 
pressionists, was  born  in  Holland  in  1853,  the  son 
of  a  Dutch  clergyman.  He,  too,  was  a  silent,  pe- 
culiar, misunderstood  mortal.  He  lived  a  wander- 
ing life  until  he  was  thirty  years  of  age.  Van 
Gogh  taught  school  in  England,  preached  in  Am- 
sterdam and  Brussels.  After  a  consultation  with 
some  relative  he  decided  to  paint.  Pie  was  literal, 
and  earnest, — much  more  can  scarce  be  said.  He 
went  awhile  to  Mauve's  studio,  then  to  the  Ant- 
werp Academy,  and  later  to  Paris  where  he  met 
Gauguin.  With  this  little  experience  he  was  proud 
to  proclaim  himself  a  pupil  of  nobody — save  Na- 

286 


ITS  ART,  STORY  AND  SYMBOLISM 

ture's  school.  His  health  failed  him  and  he  went 
into  Southern  France,  supported  by  his  brother; 
while  he  sought  to  regain  his  health  he  painted 
with  indescribable  zeal.  He  painted  and  starved 
and  for  a  change  starved  and  painted  until  he  was 
an  utter  wreck.  Gauguin  went  down  to  study  and 
paint  with  him.  Van  Gogh,  weakened  by  work, 
poor  in  health,  with  too  little  to  eat,  was  crazed  by  a 
sunstroke.  He  attacked  Gauguin  with  a  razor,  try- 
ing to  kill  him  ;  then,  while  still  crazed,  pulled  and 
cut  his  own  ear  off,  which  he  promptly  sent  to  a 
girl.  From  this  time  he  was  confined  in  an  asylum 
where  he  painted  when  he  was  rational.  He  killed 
himself  while  insane  in  1890. 

These  abnormal  men,  each  one  more  peculiar 
and  unfortunate  than  the  other,  stand  the  vanguard 
of  Post-Impressionism.  They  are  followed  by 
Picasso,  founder  of  Cubism,  who  rejects  Cezanne's 
conception  of  form,  and  Monet's  conception  of 
Hght  and  color.  To  him  both  are  non-existent. 
Picasso's  aim  is  to  produce  impressions — a  pictorial 
equivalent  of  the  emotions  produced  by  nature;  not 
the  spectacle,  but  the  idea  of  it. 

Futurism  began  in  Milan  in  1912.  The  idea 
has  to  do  with  motion,  a  series  of  over-lapping  fig- 
ures, a  blur  of  over-lapping  figures  based  on  optical 

287 


THE  DREAM  CITY 

conditions.  These  Futurists  would  break  entirely 
with  the  past,  they  hate  law  and  order  and  would 
be  a  law  unto  themselves. 

Cubists  and  Futurists  agree  that  it  is  not  neces- 
sary to  paint  an  object  as  such,  but  its  envelopment. 
They  paint  all  sides  of  an  object  as  if  they  saw 
through  it.  They  demand  now  that  we  should  not 
look  at  pictures,  but  that  we  should  look  through 
them,  get  new  visions  by  being  in  the  midst  of  the 
picture. 

Balla,  Boccioni,  Carra,  Russolo  and  Severini  are 
the  disciples  of  Futurism  who  will  call  the  people 
into  all  kinds  of  moods.  They  have  truly  given  the 
visitor  something  to  look  at,  something  to  think  of, 
something  to  puzzle  over.  The  titles  are  enough 
to  frighten  the  timid :  "Nude :  Complementary 
Dynamism  of  Form-Colour" ;  "Elasticity" ;  "Mat- 
ter" ;  "Dynamism  of  a  Footballer" ;  "Attempt  to 
Synthetize  Single  Forms  of  Continuity  Through 
Space."  The  titles  are  as  clear  as  crystal  com- 
pared with  the  pictures,  even  though  one  stands 
with  calatogue  in  hand  and  the  number  and  paint- 
er's name  upon  the  picture  to  help.  However,  it  is 
good  they  are  here,  the  public  would  have  missed 
this  ultra-modern  experience  altogether  but  for  this.     | 

The  world  stands  back  waiting  to  see  just  what 

288 


ITS  ART,  STORY  AND  SYMBOLISM 

is  to  come  of  these  conditions  as  brought  about  by 
these  men.  Many  take  them  as  a  huge  joke,  others, 
recalHng  that  every  other  great  movement  has  been 
taken  with  just  this  amount  of  opposition  have 
paused  at  least  to  make  sure,  if  possible,  that  there 
can  nothing  good  come  from  this  state  in  Den- 
mark, In  the  meantime  Matisse,  Duchamp,  Len- 
bruck  (sculptor),  and  others  are  throwing  aside  all 
academic  training  and  going  into  the  new  move- 
ment. 'When  the  international  pictures  are  dis- 
played some  fine  examples  will  be  shown. 


289 


THE  DREAM  CITY 

THE  JURY  OF  AWARDS. 

The  personnel  of  the  jury  was  perhaps  composed 
of  a  larger  number  of  distinguished  and  famous  ar- 
tists than  ever  served  in  that  capacity  before.  It 
makes  the  recipient  of  awards  a  much  more  for- 
tunate person  to  have  received  approval  from  the 
hands  of  such  representative  men. 

The  group  jury  on  paintings  reported  to  the  Su- 
perior Jury  the  following  comment  on  the  work 
submitted : 

"The  awards  in  the  United  States  section,  the 
general  excellence  of  which  is  worthy  of  all  praise, 
would  have  been  greater  but  for  the  fact  that  the 
work  of  artists  to  whom  individual  galleries  have 
been  assigned  were  declared  'not  in  competition.' '' 

This  explains  why  many  of  the  world's  foremost 
artists,  whose  work  has  been  much  admired,  do  not 
show  in  the  list  of  awards.  The  younger  men 
whose  talents  are  just  blossoming  have  been  given 
a  chance  to  become  known  in  the  field  of  artistic 
endeavor. 

The  French  awards  are  not  included  in  the  list 
given  out,  and  some  of  the  foreign  sections  and 
State  sections  are  to  be  announced  later.  The  fol- 
lowing is  the  personnel  of  the  fine  arts  department 

290 


ITS  ART^  STORY  AND  SYMBOLISM 

juries  whose  awards  are  being  submitted  to  the 
superior  jury: 

The  Jury  for  Oil  Jaintings — J.  Alden  Weir, 
chairman;  Ettore  Ferrari  (vice-chairman,  re- 
signed); Adriano  de  Sousa-Lopez,  vice-chairman; 
Robert  B.  Harshe,  secretary ;  John  W.  Beatty,  Pier- 
retto  Bianco,  Christian  Brinton,  Charles  Francis 
Browne,  Francisco  Centurion,  William  M.  Chase, 
Ralph  Clarkson,  George  Walter  Dawson,  Charles 
J.  Dickman,  Frank  V.  Dumond,  Frank  Duveneck, 
William  H.  Fox,  Jean  Guiffrey,  Philip  L.  Hale,  J. 
McLure  Hamilton,  Keiichiro  Koume,  J.  N.  Laur- 
vik,  Walter  McEwen,  Francis  J.  McComas,  Etienne 
Masante,  Arthur  F,  Mathews,  L.  H.  Meakin,  C. 
Powell  Minnigerode,  Eugen  Neuhaus,  K.  Owyang, 
Jules  Pages,  William  M.  Paxton,  Edward  W.  Red- 
field,  Matteo  Sandona,  Anshelm  Schultzberg,  Ed- 
mund C.  Tarbell,  Charles  J.  Taylor  and  Edmund 
H.  Wuerpel. 

Jury  for  Etchings  and  Engravings — Joseph  Pen- 
nell,  chairman ;  Adriano  de  Sousa-Lopez,  vice- 
chairman;  Louis  Christian  Mullgardt,  secretary; 
Frank  Duveneck,  Thomas  Wood  Stevens. 

Jury  for  Sculpture — Paul  Wayland  Bartlett, 
chairman ;  Juan  Carlos  Oliva  Navarro,  vice-chair- 
man ;  Adolph  A.  Weinman,  secretary ;  A.  Stirling 

291 


THE  DREAM  CITY 

Calder,  Arduino  Colasanti,  Charles  Grafly,  Joseph 
J.  Mora,  Haig  Patigian,  H.  Shugio,  C.  Y.  Yen 
(K.  H.  Tu,  acting). 

Special  Committee  Appointed  to  Pass  on  Un- 
classified Works  in  the  Japanese  Section — Paul 
Wayland  Bartlett,  Keiichiro  Koume,  H.  Shugio, 
Edmund,  C.  Tarbell,  J.  Alden  Weir. 

The  group  jury  on  etchings  and  engravings  re- 
ported that  while  the  varied  branches  of  the  graphic 
arts  a  few  exhibits  of  superlative  merit  are  not  in 
competition,  .nevertheless  the  general  standing  of 
the  exhibits,  in  the  opinion  of  the  jurors,  is  far 
higher  than  that  of  any  other  international  expo- 
sition held  in  America. 

The  group  jury  on  sculpture  reported:  "We  feel 
that  the  Department  of  Fine  Arts  deserves  great 
credit  for  the  arrangement  of  the  sculpture  in  the 
garden." 

After  considering  all  reports  the  department  jury 
made  the  following  statement  regarding  the  ex- 
hibits :  "In  our  opinion  this  exhibition  of  paint- 
ing, sculpture  and  engraving  is  the  best  ever  held 
in  the  United  States,  even  though  there  is  absent, 
by  reason  of  the  European  war,  many  foreign 
works  which  would  have  added  to  its  completeness. 
It  should,  however,  have  a  far-reaching  effect  upon 

292 


ITS  ART,  STORY  AND  SYMBOLISM 

the  appreciation  and  understanding  of  art.  More- 
over, the  Department  of  Fine  Arts  deserves  the 
warmest  congratulation  for  its  achievement,  which 
has  been  performed  under  the  most  trying  and  ex- 
acting conditions. 

''The  methods  of  making  awards  proved  satisfac- 
tory and  for  the  first  time  the  group  juries  for 
painting  and  engraving  placed  hors  concours  cer- 
tain eminent  artists  who  had  received  the  highest 
honors  at  previous  international  expositions,  thus 
making  it  possible  adequately  to  honor  an  entirely 
new  group  of  brilliant  young  artists." 

GRAND  PRIX. 

Frederick  Carl  Frieseke,  the  man  to  whom  the 
great  prize  was  given,  by  one  of  the  best  juries 
ever  called  together,  was  born  in  Owosso,  Michi- 
gan, near  Detroit.  He  studied  drawing  at  the  Chi- 
cago Art  Institute  and  then  went  to  Paris  to  study 
painting.  However,  except  for  a  short  time  at  the 
Julian  Academy  and  a  week  or  so  with  Whistler, 
he  has  been  his  own  teacher. 

Frieseke  is  a  painter  of  feminine  grace,  and  the 
type  is  invariably  gracious,  free  from  sentimentality 
and  from  sensuousness.  His  women  are  not  always 
pretty ;  he  takes  a  woman  and  places  her  in  a  happy, 
cozy  nook,  or  in  a  richly  ordered  boudoir  with  every 

293 


THE  DREAM  CITY 

thing  in  a  decorative  accompaniment  that  envelopes 
the  figure  in  a  corresponding  atmosphere.  The 
pictures  shown  in  the  Fine  Arts  are  hke  nothing 
else  to  be  seen  there ;  that  means  that  this  artist  is 
original  in  an  unusual  degree.  While  he  paints 
just  for  the  sake  of  painting,  he  composes  a  picture 
with  excellent  skill  and  taste  and  proceeds  to  put 
into  it  all  the  modern  difficulties  possible.  He  tosses 
the  light  of  the  sun  into  his  work  almost  as  if  he 
were  the  creator  of  day.  His  work  is  happy,  not  a 
blaze  of  color,  but  beautiful  with  color — perhaps  it 
would  be  better  to  say  beautiful  with  his  color 
scheme,  for  he  sometimes  does  a  great  deal  witn 
very  few  colors.  The  picture  called  "Sleep'  (No. 
2378,  in  room  48)  is  a  color  scheme;  it*  has  the 
white  of  the  flesh  tint  and  the  bed ;  the  coral  of  the 
lips,  beads,  ears,  feet  and  colored  bed  corners. 
The  same  thing  may  be  said  of  his  "Boudoir" 
(room  117).  The  greatness  of  the  man  and  his 
growth  is  to  be  seen  in  comparing  "Sleep"  with  the 
large  picture  of  the  nude  called  "Summer"  (No. 
4094,  in  room  117).  In  "Sleep"  there  is  the  tradi- 
tional handling  of  a  beautiful,  girlish  figure,  made 
delightfully  attractive  and  innocent  by  closing  the 
eyes  in  sleep  and  then  giving  to  the  spectator  the 
charm  of  her  beauty  in  form  and  color.     In  "Sum- 

294 


ITS  ARTj  STORY  AND  SYMBOLISM 

mer"  he  has  given  the  same  kind  of  a  body  the 
place  in  the  center  of  the  canvas ;  but,  he  has  placed 
it  in  the  open,  with  the  sun  coming  through  under 
the  trees.  It  is  a  maze  of  light  and  shade  and  would 
seem  to  be  almost  the  last  note  in  this  music  started 
by  Monet  in  the  eighties.  Frieseke  is  bold  in  the 
study  he  has  given  of  the  prismatic  light.  In 
"Sleep,"  painted  in  1903,  there  is  no  suggestion  of 
it;  in  this  one  of  "Summer"  it  would  seem  that 
almost  nothing  in  the  way  of  sunny  effects  would 
be  impossible  to  him  now. 

Frieseke  cannot  complain  of  want  of  apprecia- 
tion. His  pictures  hang  in  Savannah,  Georgia ;  in 
Chicago;  in  New  York;  in  Vienna;  in  Odessa,  and 
in  the  Luxemburg.  He  has  received  medals  from 
the  St.  Louis  Exposition;  the  Corcoran  Art  Gal- 
lery ;  Munich ;  Berlin,  and  Paris. 

Frieseke  is  yet  a  young  man,  just  past  forty ;  with 
many  years  apparently  before  him  there  is  no  tell- 
ing what  he  may  accomplish  along  these  lines  he 
seems  to  bold  so  well  in  his  hands  today. 


295 


THE  DREAM  CITY 

MEDALS  OF  HONOR. 

John  W,  Alexander,  one  of  America's  greatest 
men,  was  given  a  medal  of  honor  by  the  Fine  Arts 
Jury  two  days  before  his  death.  Only  one  picture 
of  this  painter  hangs  upon  the  walls  of  the  gallery 
but  it  is  a  gem  and  it  tells  the  story  of  genius  and 
skill.  The  life  of  this  man  is  particularly  interest- 
ing. He  began  his  art  life  with  Harpers.  He  ap- 
plied for  work  in  their  drawing  department  when 
a  mere  boy.  The  official  to  whom  he  applied  in  set, 
conventional  phraseology  told  him  there  was  no 
place  open  at  the  time,  to  call  again.  The  boy  not 
understanding  the  speech  as  final,  promptly  pre- 
sented himself  again,  saying:  "You  said  'inquire 
again  in  a  few  days,'  so  here  I  am."  They  took 
him  on  the  force,  not  in  the  drawing  department, 
but  as  an  errand  boy.  When  he  had  saved  three 
hundred  dollars  he  went  to  Paris.  Finding  living 
too  expensive  there  he  went  to  Munich  and  then  to 
Poling  in  Bavaria,  where  Duveneck  had  his  friends, 
Currier,  Shirlau  and  others.  Alexander  studied 
with  Duveneck  for  two  years  and  he  found  the 
American  master  a  great  help. 

Alexander  came  to  be  appreciated  by  the  public 
fairly  early  in  life,  so  that  his  work  has  been  known 
and  understood  for  years.  He  is  recognized  as  a  por- 
trait painter,  a  figure  painter,  and  a  mural  painter 
296 


ITS  ART,  STORY  AND  SYMBOLISM 

with  a  distinctly  decorative  purpose.  Originality 
of  feeling  and  a  lively  sensitiveness  are  conspicuous 
in  his  work;  still,  there  is  the  reticence  and  reserve 
of  a  master  in  his  handling  of  his  pictures. 

The  "Evolution  of  the  Book"  in  the  Con- 
gressional Library,  and  the  "Crowning  of  Labor" 
in  the  Carnegie  Institute,  Pittsburgh,  are  the  two 
largest  mural  decorations  he  has  completed.  The 
Carnegie  Institute  is  the  largest  wall  space  ever 
given  an  American  to  cover — the  space  measures 
over  five  thousand  feet  and  Alexander  estimated  the 
number  of  figures  between  four  and  five  hundred. 
It  was  a  huge  task,  one  which  he  was  under  con- 
tracl:  to  do  by  himself,  so  it  h  worked  entirely  along 
his  lines. 

Personally  John  W.  Alexander  was  a  delight. 
He  possessed  the  nervous  energy,  the  acuteness,  the 
keenness  which  we  are  accustomed  to  associate 
with  our  American  men.  He  had  the  poise,  the 
serenity,  the  charm,  the  indefinable  something 
which  comes  to  a  man  possessing  the  knowledge  of 
many  men,  and  many  lands,  and  a  long  experience 
with  both.  His  death  means  a  great  loss  to  the  art 
world  and  it  is  with  sorrow  the  green  wreath  is 
seen  hanging  below  his  charming  picture  called 
"Phyllis"  in  room  69,  wall  C. 

297 


THE  DREAM  CITY 

Emil  Carlsen,  born  in  Copenhagen,  1853,  studied 
in  Royal  Academy  of  Denmark ;  came  to  the  United 
States  in  1872.  Belongs  to  many  artists'  societies; 
has  received  numerous  medals,  awards  and  honors. 
Has  pictures  in  New  York,  Chicago,  Pittsburgh, 
Brooklyn  and  Buffalo.  Picture  hangs  in  room  67, 
wall  D. 


Walter  Griffin  was  born  in  Portland,  Me. ;  re- 
sides in  Paris  and  Old  Lynn,  Conn ;  is  a  pupil  of 
Collins  and  Laurens  in  Paris.  Pictures  hang  in 
room  45,  wall  C. 


Richard  E.  Miller  was  born  in  St.  Louis,  Mo. 
Studied  in  St.  Louis  School  of  Fine  Arts,  and  with 
Constant  and  Laurens  in  Paris.  He  is  Knight  of 
the  Legion  of  Honor  in  France  and  has  received 
many  medals.  He  has  pictures  in  Luxemburg  in 
Paris ;  Metropolitan  Museum,  New  York ;  Gallery 
of  Modern  Art  in  Rome ;  Royal  Museum  of  Chris- 
tiania ;  Museum  of  Fine  Arts,  Antwerp ;  Modern 
Gallery  of  Venice ;  Musee  du  Petit  Palais,  Paris ; 
King  of  Italy's  private  collection,  and  some  pic- 
tures in  various  galleries  in  the  United  States. 
Pictures  hang  (3323)  in  room  69  and  (2334)  in 
room  44. 

298 


ITS  ART,  STORY  AND  SYMBOLISM 

Violet  Oakley,  born  in  New  York.  Pupil  of  Art 
Students'  League,  N.  Y. ;  Penn.  Academy  of  Fine 
Arts ;  under  Howard  Pyle ;  Cecilia  Beaux ;  Aman- 
Jean,  Collin,  Lazar  in  Paris.  She  belongs  to  sev- 
eral art  associations,  has  received  a  number  of 
medals.  She  has  eighteen  panels  in  the  Capitol  at 
Harrisburg,  Pa. ;  stained  windows  in  the  Church  of 
All  Angels,  New  York;  and  work  in  the  Pennsyl- 
vania Academy  of  Fine  Arts.  Picture  hangs  in 
room  65,  wall  B ;  stained  glass  window  in  room  38. 


Cecelia  Beaux,  born  in  Philadelphia.  Pupil  of 
Sartain;  Julian  and  Lazar  schools  in  Paris.  She 
belongs  to  many  art  societies  and  has  won  many 
awards  and  medals.  Has  been  written  up  with  the 
woman's  room.    Pictures  hang  in  room  65,  wall  D. 


Willard   L.    Metcalf   has   been   written   of   with 
"The  Ten  American  Artists." 


Myron  Barlow  lives  in  Detroit  and  Trepied, 
Etaples,  France.  Barlow  was  born  in  Michigan. 
Pupil  of  Art  Institute  of  Chicago ;  Gerome  and 
School  of  the  Beaux  Arts  in  Paris.  Pictures  hang 
in  room  120. 

299 


THE  DREAM  CITY 

Lawton  Parker  resides  in  Paris  and  Chicago;  in 
Giverny-par-Vernon,  Eure,  France,  in  the  summer. 
Parker  was  born  in  Fairfield,  Michigan ;  is  a  pupil 
of  Chase  in  New  York,  Gerome,  Laurens,  Con- 
stant, Besnard  and  Whistler  in  Paris.  Awards : 
John  A.  Candler  five-year  European  Scholarship, 
honorable  mention  and  medals  from  Paris  Salon 
and  others.    Pictures  hang  in  room  69,  wall  B. 


W.  Elmer  Schofield,  born  in  Philadelphia ;  a  pupil 
of  Penn.  Academy  of  Fine  Arts ;  Bougereau,  Fer- 
rier,  Daucet  and  Aman  Jean  in  Paris.  A  member 
of  many  art  societies  and  has  received  many  medals. 
His  pictures  hang  in  the  Metropolitan  Museum, 
New  York ;  Corcoran  Art  Gallery,  Washington ; 
Cincinnati  Museum ;  Carnegie  Institute,  Pitts- 
burgh ;  Pennsylvania  Academy,  Philadelphia ;  Art 
Association,  Indianapolis.  Pictures  hang  in  room 
68,  wall  D. 


Gififord  Beal  resides  in  New  York,  where  he  was 
born.  A  pupil  of  Chase.  Has  received  several 
awards  before.    Room  73. 

300 


ITS  ART,  STORY  AND  SYMBOLISM 

Geo.  Bellows  lives  in  New  York;  born  in  Colum- 
bus, Ohio.  Pupil  of  Henri  and  Hayes-Miller  in 
New  York.  Has  pictures  in  New  York,  Philadel- 
phia, Savannah,  Toledo  and  Ohio  University. 

Max  Bohm  born  in  Cleveland,  Ohio ;  resides  in 
Paris.  Pupil  of  Laurens,  Guillemet  and  Constant 
in  Paris.  He  has  received  high  awards  and  has 
work  in  the  Luxemburg,  Paris.  Room  72,  wall 
D;  room  118,  wall  A. 

Breckenridge  born  in  Leesburg,  Va.  Pupil  of 
Pafa,  Penn.  Academy  of  Fine  Arts;  Bougereau, 
Ferrier  and  Daucet  in  Paris.  He  has  received  gold 
medals ;  and  honorable  mention,  Paris  Exposition, 
1900.    Pictures  in  room  51,  wall  A. 

H.  J.  Bruer — Californian. 

C.  C.  Cooper,  born  in  Philadelphia.  Pupil  Penn- 
sylvania Academy  of  Fine  Arts ;  Julian  and  Dele- 
cluse  Academies  in  Paris.  Member  of  many  socie- 
ties ;  has  received  numerous  gold  medals,  awards, 
etc. ;  has  work  in  Cincinnati  Museum,  Dallas,  Tex. ; 
in  New  York,  St.  Louis,  Boston  and  Philadelphia. 
Rooms  37  and  47. 

Howard  G.  Gushing  resides  in  Boston  and  New 
York.  Pupil  of  Laurens,  Constant  and  Daucet  in 
Paris.     Has   a   goodly   number   of   awards   to   his 


301 


THE  DREAM  CITY 

credit.  Pictures  hang-  in  room  66,  walls  A  and  D ; 
1526  hangs  in  room  68. 

Chas.  H.  Davis  born  in  Cambridge,  Mass. ;  re- 
sides in  Washington,  D.  C.  Landscape  painter. 
Pictures  hang  in  room  67. 

Ruger  Donoho  born  in  Churchill,  Miss.  Pupil 
of  Art  Students'  League  and  R.  Swain  Gifford  in 
New  York;  Julian  Academy  in  Paris  under  Lefe- 
bvre  and  Boulanger.  His  pictures  are  hors  con- 
cours  in  Paris  Salon  (accepted  without  passing  a 
jury.)     Pictures  hang  in  room  46. 

Paul  Daugherty  born  in  Brooklyn,  N.  Y.  Studied 
alone  in  Paris,  London,  Florence,  Venice  and  Mu- 
nich. Has  pictures  hanging  in  Washington  D.  C. : 
Carnegie  Ins.,  Pittsburgh ;  Brooklyn,  Chicago,  Buf- 
falo and  New  York.  Pictures  hang  in  room  67, 
wall  A. 

J.  J.  Enneking  was  born  in  Minster,  O.  Pupil 
of  Baunet  and  Daubigny  in  Paris ;  Lehr  in  Munich. 
Has  four  gold  and  silver  medals.  Pictures  hang  in 
room  71. 

Daniel  Garber  born  in  Manchester,  Ind.  Pupil 
of  Nowottny  of  the  Cincinnati  Academy;  Anschutz, 
Penn.  Academy  of  Fine  Arts.  Teacher  in  P.  A. 
F.  A,  since  1909.    Has  numerous  medals  and  works 

302 


ITS  ART,  STORY  AND  SYMBOLISM 

in  Washington  D.  C,  Cincinnati,  Brooklyn  and 
Chicago.    Pictures  hang  in  room  68,  wall  C. 

Lillian  Westcott  Hale  born  in  Hartford,  Conn, 
Pupil  of  Tarbell,  Chase  and  Phihp  Hale.  Pictures 
hang  in  room  80,  room  40  and  room  65, 

W.  H.  Hamilton  was  born  in  Somerfield,  Pa. 
Studied  in  Paris.  Pictures  hang  in  room  45,  room 
118. 

Harry  L.  Ploffman.  Born  in  Cressona,  Pa.  Pu- 
pil of  Du  Mond  in  New  York;  Laurens  in  Paris. 
Room  118. 

James  R.  Hopkins  was  born  in  Ohio.  Pupil  of 
Cincinnati  Art  Academy ;  residence,  Paris.  Born 
in  Copenhagen,  Denmark.  Pupil  of  American  In- 
stitute of  Architects,  Duveneck,  Julian  Academy  in 
Paris.  Medals  from  Chicago,  St.  Louis.  Buenos 
Ayres  and  Carnegie  Art  Institute,  Pittsburgh.  Pic- 
tures in  National  Gallery,  Santiago,  Chili ;  Art  In- 
stitute, Chicago ;  Glasgow  ;  Richmond,  Ind. ;  Dallas, 
Texas,  and  many  other  places.  Pictures  hang  in 
room  45. 

Sergeant  Kendall  was  born  in  New  York.  Pupil 
of  Art  Students'  League;  Eakins,  Philadelphia; 
Beaux  Arts  and  Merson  in  Paris.  Member  of  many 
art  societies ;  honorable  mention,  Paris  Salon ;  the 
recipient  of  many  awards  and  medals,  with  works 

303 


THE  DREAM  CITY 

in  the  large  galleries  of  the  United  States.     Room 

50- 

William  L.  Lathrop  was  born  in  Warren,  111, ; 
resides  at  New  Hope,  Pa.  Has  received  previous 
awards  and  has  some  works  owned  by  museums  in 
New  York,  Washington  and  Pittsburgh.    Room  50. 

Ernest  Lawson  was  born  in  California.     Spent 
several  years  in  France.    Lawson  has  received  pre- 
vious prizes  and  medals ;   resides  in  New  York. 
Pictures  in  room  73. 

Haley  Lever — Rooms  66,  67  and  71. 

T.  L.  Mora  was  born  in  Montevideo,  Uruguay. 
Pupil  of  Benson  and  Tarbell  in  Boston;  Art  Stu- 
dents' League  under  Mowbray.  Mora  is  a  member 
of  numerous  art  associations  and  has  received  two 
gold  medals  and  various  prizes  and  awards  before. 
Rooms  45,  71,  117. 

Waldo  Murray — 

Elizabeth  Nourse  was  born  in  Cincinnati.  Pupil 
of  Art  Academy  of  Cincinnati ;  Lefebvre,  Henner 
and  Carolus-Duran  in  Paris.  Is  a  member  of  sev- 
eral French  art  societies  and  also  American.  Has 
received  awards  and  medals,  and  has  works  in  the 
Luxemburg,  Paris ;  Cincinnati,  Chicago,  Detroit 
and  Toledo  museums.    Room  56. 

Joseph  T.  Pearson  was  born  in  Germantown,  Pa. 

304 


ITS  ART,  STORY  AND  SYMBOLISM 

Pupil  of  J.  Alden  Weir  and  W.  M.  Chase.  Has  re- 
ceived awards  from  Penn.  Academy  of  Fine  Arts; 
Carnegie  Institute,  Pittsburgh,  and  National 
Academy  of  Design.    Room  69. 

Robert  Spencer  was  born  in  Nebraska.  Pupil 
of  Chase,  Du  Mond,  Henri  and  Garber.  Rooms  62, 
67,  68. 

H.  O.  Tanner  was  born  in  Pittsburgh,  Pa. 
Studied  under  Eakins  in  Penn.  Academy  of  Fine 
Arts,  and  with  Constant  and  Laurens  in  Paris. 
Tanner  is  the  only  great  negro  painter.  He  is  highly 
educated,  studied  for  the  ministry,  his  father  being 
Bishop  Tanner.  He  decided  to  study  to  be  an  artist 
and  went  to  Paris,  married  a  French  woman  and 
resides  there.  He  has  pictures  in  the  Luxemburg, 
Paris;  New  York,  Washington,  Philadelphia  and 
Chicago.    Room  117. 

Giovanni  Troccoli  resides  at  Newton  Center, 
Mass.    Room  48. 

Douglas  Volk  was  born  in  Pittsfield,  Mass.  Son 
of  sculptor  Leonard  W.  Volk.  Pupil  of  Gerome 
in  Paris.  Belongs  to  art  societies  abroad  and  at 
home ;  has  received  many  medals  and  prizes.  Volk's 
work  is  in  St.  Paul,  Pittsburgh,  Washington,  D.  C. 
Room  85. 


305 


THE  DREAM  CITY 

Robert  Vannoh  was  born  in  Hartford,  Conn. ;  re- 
sides in  New  York  during  the  winter,  in  France 
during  the  summer.  Studied  in  Boston;  Julian 
Academy  in  Paris  under  Boulauger  and  Lefebvre. 
Vannoh  has  been  honored  both  in  Europe  and  the 
United  States.  Has  pictures  in  Buffalo,  Philadel- 
phia, Washington,  D.  C.    Rooms  45,  48,  70. 

Marion  Powers  (Kirkpatrick)  resides  in  Boston, 
Room  56. 

Ellen  Emmet  Rand  (written  of  with  others  in 
Woman's  Room).  Born  in  San  Francisco,  studied 
in  New  York  and  Paris.  Awarded  silver  medal  at 
St.  Louis.  She  has  a  portrait  of  St.  Gaudens  in 
Metropolitan  Museum,  New  York.    Room  65. 

Robert  Reid  (written  of  with  "The  Ten")  was 
born  in  Stockbridge,  Mass.  Pupil  of  Boston  Mu- 
seum School ;  Art  Students'  League  of  New  York ; 
Boulanger  and  Lefebvre  in  Paris.  Has  received 
medals  galore  from  France  and  America.  Reid  has 
pictures  in  Washington,  Brooklyn,  Buffalo,  New 
York,  Cincinnati,  Boston,  besides  many  murals  m 
large  public  and  semi-public  buildings  and  churches. 
Room  45. 

William  Ritschel  was  born  in  Nurenburg,  Ger- 
many. Pupil  of  Kaulbach  and  C.  Raupp  in  Mu- 
nich.    Came  to  U.  S.  in  1895 ;  is  a  member  of  art 

306 


ITS  ART,  STORY  AND  SYMBOLISM 

societies  in  Germany  and  United  States.  Rooms 
68,  71. 

Edward  F.  Rook  was  born  in  New  York.  Pupil 
of  Constant  and  Laurens  in  Paris.  Has  received 
gold,  silver  and  bronze  medals  previously.  Pic- 
tures of  his  hang  in  Philadelphia,  Boston,  Cincin- 
nati and  New  York.    Rooms  45,  48. 

Horatio  Walker  was  born  in  Listowel,  Canada; 
came  to  New  York  in  1858.  Walker  belong  to 
societies  both  in  England  and  the  United  States. 
He  has  works  in  St.  Louis,  Buffalo,  Washington, 
D.  C,  and  New  York.  He  has  received  gold  medals 
from  New  York,  Chicago,  Pan  American  Exposi- 
tion, Charleston  Exposition;  gold  medal  for  oils 
and  gold  medal  for  water  color  at  St.  Louis ;  other 
gold  medals,  prizes  and  awards.    Rooms  85. 

E.  K.  K.  Wetherell  resides  in  New  York.  Rooms 
70,  72. 

Irving  R.  Wiles  was  born  in  Utica,  New  York. 
Pupil  of  his  father,  L.  W.  Wiles;  of  Chase  and 
Beckwith  in  New  York  and  of  Carolus-Duran  in 
Paris.  Received  gold  medals  at  Buffalo  and 
Buenos  Ayres ;  honorable  mention  in  Paris  Salon 
and  honors  from  numerous  other  sources.  His 
pictures  hang  in  West  Point,  Washington,  Brook- 
lyn and  New  York.     He  is  one  of  the  best  painters 

307 


THE  DREAM  CITY 

of  American  women  as  a  type;  his  picture  of  Julia 
Marlowe  is  wonderfully  fine.    Room  70. 

C.  H.  Woodbury  was  born  in  Lynn,  Mass.  He 
studied  in  Boston  and  in  Julian  Academy  in  Paris 
under  Boulanger  and  Lefebvre.  He  has  received 
gold,  silver  and  bronze  medals ;  prizes  and  awards. 
His  works  are  in  Indianapolis,  Worcester,  Boston, 
Providence  and  Pittsburgh.  Rooms  37,  wall  A ; 
69,  wall  A,  119,  120. 

SIILVER    MEDALS. 

Inez  Adams — 

F.  C.  Bartlett  was  born  in  Chicago;  resides  in 
Chicago.  Pupil  of  Gysis  in  Munich ;  Collin,  Aman- 
Jean  and  Whistler  in  Paris.  Belongs  to  Roy?.l 
Academy,  Munich  and  other  societies.  Mural 
paintings  and  windows  in  Chicago  and  PittsburgJi. 
Rooms  44,  71. 

Charles  Bittinger  was  born  in  Washington,  D.  C. 
Pupil  of  the  Beaux  Arts  in  Paris,  and  Delecluse  and 
Colarossi  Academies  in  Paris.     Rooms  47,  71. 

E.  L.  Blumenschein  was  born  in  Pittsburgh,  Pa. 
Pupil  of  Cincinnati  Art  Academy;  Art  Students' 
League,  New  York;  Constant,  Laurens  and  Collin 
in  Paris.    Rooms  47,  119. 

Carl  Oscar  Borg — Rooms  56,  (yj,  74. 

Adolph  Barie  was  born  in  Philadelphia,     Pupil 

308 


ITS  ART,  STORY  AND  SYMBOLISM 

at  the  Penn.  Academy  of  Fine  Arts  and  Munich 
Academy.     Rooms  46,  51,  67. 

Karl  A.  Buehr  was  born  in  Germany.  Studied 
in  France  and  Holland  and  Art  Institute  of  Chi- 
cago. Received  honorable  mention,  Paris  Salon, 
1910.     Rooms  47,  68,  117. 

Cameron  Burnside  was  born  in  London,  Eng- 
land. Pupil  of  Rene  Menard,  Rupert  Bunny  and 
Lucien  Simon  in  Paris.  Member  of  Societe  de 
Artistes  Independants.    Room  120,  wall  B. 

Howard  R.  Butler  was  born  in  New  York.  Pupil 
of  Daguan,  Bouveret,  Roll  and  Gervex  in  Paris. 
Has  received  honorable  mention  in  Paris  Salon,  and 
medals  and  prizes.    Room  69. 

E.  L.  Bryant  was  born  in  Ohio.  Pupil  of  Blanc, 
Couture  in  Paris ;  Herkomer  in  London ;  Anschutz, 
Chase  and  Breckenridge  in  Philadelphia.    Room  51. 

A.  B.  Carlos.  Pupil  of  Penn,  Academy  of  Fine 
Arts.    Room  51. 

F.  J.  Carlson  lives  in  New  York*;  is  associate 
of  National  Academy  of  Design.  Rooms  50,  ()'j, 
117. 

F.  G.  Carpenter  was  born  in  Nashville,  Tenn. 
Pupil  of  Laurens,  Bashet,  Simon  and  Collin  in 
Paris.  Received  honorable  mention  from  the  Salon 
des  Artistes  Francais  in  1911.    Room  68. 

309 


THE  DREAM  CITY 

William  L.  Carrigan  lives  in  New  York.  Room 
67. 

Ettore  Caser  was  born  in  Venice.  Pupil  of  cle 
Maria.    Rooms  50,  56,  66. 

Adelaide  C.  Chase  was  born  in  Boston,  Studied 
with  Tarbell  in  Boston ;  Carolus-Duran  in  Paris. 
Silver  medal  was  given  her  at  St.  Louis.     Rooms 

65,  72. 

Lewis  Cohen,  landscape  painter,  was  born  of 
American  parents  in  London.  Studied  with  Legros 
and  Nicol  in  London;  Blanche  in  Paris.     Room  67. 

E.  D.  Connell  was  born  in  New  York.  Pupil  of 
Bouguereau,  Robert-Fleury  and  Julian  Dupre  in 
Paris.  Member  of  several  French  art  associations 
and  recipient  of  various  medals  of  award ;  honora- 
ble mention  of  Paris  Salon.    Room  120. 

E.  L  Conse  was  born  in  Michigan.  Pupil  of 
National  Academy  of  Design  in  New  York;  pupil 
of  Beaux  Arts  and  Bouguereau  and  Robert-Fleury 
in  Paris.  Conse  has  received  numerous  awards  and 
has  pictures  in  Washington,  Brooklyn,  Harrisburg, 
Detroit,  St.  Paul  and  New  York.  Rooms  47,  119. 

Bruce  Crane,  landscape  painter,  was  born  in  New 
York.  Pupil  of  A.  H.  Wyant.  Crane  has  received 
medals  and  prizes.  Works  in  Pittsburgh,  Mont- 
clair,  Baltimore,  Washington  and  New  York.  Room 
80,  wall  B. 

310 


ITS  ART,  STORY  AND  SYMBOLISM 

Edward  Cucuel  was  born  in  San  Francisco.  Pu- 
pil of  Constant,  Laurens  and  Gerome  in  Paris;  Leo 
Putz  in  Munich.  Is  a  member  of  the  Societe  Na- 
tional des  Beaux-Arts  in  Paris;  Linpold  Gruppe, 
Munich.    Rooms  44,  117,  119. 

Joseph  B.  Davol,  Ogunquit,  Maine.  Rooms  54, 
71,  74. 

Maurice  Del  Mue,  San  Francisco.     Room  69. 

Usher  De  Voll  was  born  in  Providence,  R.  L 
Pupil  of  R.  L  School  of  Design;  Chase,  Mowbray 
and  Henri  in  New  York;  Laurens  in  Paris.  Be- 
longs to  art  societies  in  Paris  and  the  United 
States.    Rooms  44,  45,  71,  118. 

Frederick  Du  Mond  was  born  in  New  York ;  re- 
sides in  Paris.  Pupil  of  Lefebvre,  Cormon, 
Laurens  and  Doucet  in  Paris.  Honorable  mention 
and  medal,  Paris  Salon.    Room  46. 

Charles  Ebert  lives  in  Greenwich,  Conn.  Rooms 
48,  55,  74- 

Richard  B.  Farley  was  born  in  Poultney,  Maine. 
Pupil  of  Chase,  Whistler  and  Cecelia  Beaux. 
Rooms  69,  71,  72. 

Gertrude  Fiske.    Rooms  71,  72, 

Will  H.  Foote  was  born  in  Michigan.  Pupil  of 
Art  Institute  of  Chicago;  Art  Students'  League  of 
New  York;  Julian  Academy  in  Paris  under  Lau- 

311 


THE  DREAM  CITY 

rens   and   Constant.     Received   numerous   awards. 
Rooms  44,  80. 

Miss  E.  Charlton  Fortune  is  a  resident  of  San 
Francisco.     Pupil  of  W.  M.  Chase.    Rooms  26,  36, 

50,  71,  117- 

Henry  B.  Fuller  was  born  in  Massachusetts;  re- 
sides in  New  York.  Pupil  of  Cowles,  Art  School 
in  Boston  under  Bunker ;  Cox  and  Mowbray  in  Art 
Students'  League,  New  York;  Collin  in  Paris. 
Member  of  several  art  societies  and  has  received 
various  medals.     Room  35. 

Robert  D.  Gauley  was  born  in  Ballybay,  Ireland. 
Came  to  the  United  States  in  1884.  Pupil  of  D.  W. 
Ross  in  Cambridge,  Mass.;  Benson  and  Tarbell  in 
Boston;  Bougereau  and  Ferrier  in  Paris.  Medals 
from  Paris  Exposition  and  St.  Louis  and  other 
awards.    Room  70. 

L.  D.  Grant  resides  at  26  Gramercy  Park,  New 
York. 

F.  G.  Gray  was  born  and  lives  in  St.  Louis.  Pupil 
of  Laurens,  Paris.    Rooms  70,  71,  72. 

A.  L  Groll  was  born  and  resides  in  New  York 
Pupil  of  Gysis  and  Loefftz  in  Munich.  Groll  has 
received  honorable  mention  in  Munich ;  gold  medal 
at  Buenos  Ayres  and  Santiago  Expositions.  Has 
work  in  Brooklyn  and  Washington.    Rooms  43,  47. 

312 


ITS  ART,  STORY  AND  SYMBOLISM 

O.  D.  Grover  was  born  in  Earlville,  111.  Pupil 
of  Diiveneck  in  Munich ;  Boulanger,  Lefebvre  and 
Laurens  in  Paris.  Works  in  Detroit,  St.  Louis, 
Public  Library  and  Art  Institute,  Chicago.    Rooms 

45.  74- 

Johanna  W.  K.  Hailman  resides  in  Pittsburgh. 
Room  65. 

Armin  Hansen  is  a  resident  of  San  Francisco. 
Rooms  50,  67. 

C.  W.  Hawthorne  was  born  in  Maine ;  resides  in 
New  York.  Pupil  of  National  Academy  of  Design ; 
Art  Students'  League  in  New  York;  Chase  at 
Shinnecock,  Long  Island.  Hawthorne  belongs  to 
several  art  societies  in  the  United  States  land 
France  and  has  pictures  hanging  in  Buffalo,  Provi- 
dence, Syracuse  and  New  York.  Has  received 
various  awards.    Room  85. 

Robert  Henri  was  born  in  Cincinnati ;  resides  in 
New  York.  Pupil  of  Penn.  Academy  of  Fine  Arts ; 
Julian  Academy  and  School  of  Beaux-Arts  in 
Paris ;  has  studied  in  Spain  and  Italy.  Belongs  to 
numerous  art  associations,  and  has  received  various 
medals  and  awards.  His  pictures  hang  in  Phila- 
delphia; New  Orleans;  Brooklyn;  Dallas,  Texas; 
Pittsburgh ;  Chicago,  and  in  the  Luxemburg  in 
Paris.    Room  51. 

313 


THE  DREAM  CITY 

Herman  G.  Herkomer  painted  in  England ;  resi- 
dent of  San  Francisco.    Room  70. 

Charles  Hopkinson  was  born  in  Massachusetts ; 
resides  in  Boston.  Pupil  of  Art  Students'  League, 
New  York.  Received  several  bronze  medals  pre- 
viously.   Room  40,  70,  72,  no. 

Wilson  Irvine  was  born  in  Byron,  111.  Pupil  of 
Art  Institute  of  Chicago.  Belongs  to  several  art 
clubs  in  Chicago  and  has  pictures  in  the  Chicago 
Art  Institute.    Rooms  50,  'j^. 

William  James.     Room  43. 

Francis  C.  Jones  was  born  in  Baltimore ;  resides 
in  New  York.  Pupil  of  Beaux-Arts  under  Bou- 
langer  and  Lefebvre  in  Paris.  He  belongs  to 
various  art  societies  and  has  been  awarded  several 
prizes.    Room  48. 

H.  Bolten  Jones  was  born  in  Baltimore.  Studied 
in  France.  Received  medals  from  Paris  Exposi- 
tion, Chicago  World's  Fair,  St.  Louis  and  others. 
Pictures  of  his  hang  in  Washington,  Philadelphia 
and  Brooklyn.    Room  72. 

Leon  F.  Jones  resides  in  Concord.  Rooms  43, 
117. 

Paul  King  was  born  in  Buffalo,  N.  Y.  Pupil  of 
Art  Students'  League  of  Buffalo;  Art  Students' 
League  of  New  York  under  Mowbray.    Rooms  36, 

45.  7Z' 

314 


ITS  ART^  STORY  AND  SYMBOLISM 

Louis  Kronberg  was  born  in  Boston.  Pupil  of 
Boston  Museum  School ;  Laurens  and  Constant  in 
Paris.    Rooms  45,  47,  50. 

F.  M.  Lamb  was  born  in  New  York.  Pupil  of 
Art  Students'  League  under  Sartain  and  Beckwith 
in  New  York;  School  of  Beaux-Arts  in  Paris  with 
Boulanger  and  Lefebvre.  Received  medals,  Paris 
Exposition;  honorable  mention  Columbian  Exposi- 
tion ;  gold  medal  at  Atlanta.  Mural  work  in  several 
cities.    Rooms  66,  85. 

Gertrude  Lambert.    Room  51. 

A.  T.  Lang  resides  in  New  York.  Rooms  65,  118. 

Jonas  Lie  was  born  in  Norway;  resides  in  New 
York.  Pupil  of  National  Academy  of  Design,  and 
Art  Students'  League  of  New  York.  Silver  medal 
at  St.  Louis  Exposition.    Rooms  45,  75. 

Philip  Little  was  born  in  Massachusetts ;  resides 
in  Salem.  Pupil  of  Boston  Museum  School. 
Works  in  Brunswick,  Maine ;  Minneapolis ;  St. 
Louis ;  Philadelphia.     Room  80. 

D.  W.  Lockman  resides  in  New  York.    Room  55, 

Norwood  MacGilvery  was  born  in  Bangkok, 
Siam.  Pupil  of  Mark  Hopkins  Institute,  San  Fran- 
cisco ;  Myron  Barlow  in  England ;  Laurens  in  Paris. 
Rooms  2,7 >  49.  71  • 

George  H.  Macrum.    Room  55. 

315 


THE  DREAM  CITY 

E.  T.  Major  was  born  in  Washington,  D.  C. 
Pupil  of  Boulanger  and  Lefebvre  in  Paris.  Teacher 
in  Normal  Art  School,  Boston.    Room  80. 

Louis  Mayer  resides  in  Milwaukee,  Wis.  Pupil 
of  Max  Thedy  and  Paul  Hoecker  in  Munich;  Con- 
stant and  Laurens  in  Paris.  Member  of  several 
foreign  art  societies.    Room  72. 

WilHam  McKillop.     Room  119. 

M.  Jean  McLane  (Johansen).    Room  65. 

R.  S.  Meryman.    Room  71. 

M.  Molarsky  resides  in  Philadelphia.     Room  68. 

Herman  D.  Murphy  was  born  in  Marlboro,  Mass. 
Pupil  of  Boston  Museum  School ;  Laurens  in  Paris. 
Member  of  Boston  and  New  York  Water  Color 
Club,  Copley  Society  and  various  other  clubs. 
Medals  for  portraits  and  water  colors  previously 
received.  Works  in  Buffalo,  Nashville,  Chicago  and 
Massachusetts.     Rooms  37,  44,  50. 

John  Francis  Murphy  was  born  in  Oswego,  New 
York.  Belongs  to  numerous  art  societies,  and  has 
received  several  gold  medals  as  well  as  honorable 
mention  in  Paris,  1900.  His  pictures  are  in  Pitts- 
burgh ;  Washington ;  Worcester,  Mass. ;  Buffalo 
and  New  York.    Room  69. 

R.  P.  Neilson.    Rooms  50,  6^. 

316 


ITS  ART,  STORY  AND  SYMBOLISM 

Brnce  Nelson  is  a  California  painter.  Rooms  50, 
74,  117,  118. 

Robert  H.  Nisbet  was  born  in  Providence,  R.  I. 
Pupil  of  Rhode  Island  School  of  Design;  Art  Stu- 
dents' League  of  New  York.  Member  of  various 
artists'  societies.    Room  71. 

Carl  J.  Nordell  resides  in  Boston;  born  in  Den- 
mark. Pupil  of  Boston  School  under  Tarbell;  Art 
Students'  League  of  New  York  under  Bridgeman 
and  Du  Mond;  Julian  Academy  under  Laurens. 
Rooms  48,  69,  72. 

G.  L.  Noyes  was  born  in  Canada;  resides  in  Bos- 
ton. Pupil  of  Courtoio,  Rixen,  Le  Blanc  and  De- 
lance  in  Paris.    Rooms  50,  80. 

Leonard  Ochtman  resides  in  New  York  and  Cos 
Cob,  Conn.  Born  in  Zonnemaire,  Holland.  Self 
taught.  Numerous  awards ;  medal  from  Columbian 
Exposition ;  gold  medals  from  National  Academy 
of  Design,  and  Philadelphia;  two  gold  medals  from 
St.  Louis;  silver  medal  and  prizes  and  other  awards. 
Pictures  are  in  St.  Louis,  Pittsburgh,  Brooklyn, 
Washington  and  New  York.    Rooms  64,  67. 

Clara  Weaver  Parrish  resides  in  New  York ;  was 
born  in  Salem,  Alabama.  Pupil  of  Art  Students' 
League  of  New  York  under  Chase,  Mowbray,  Cox 
and  J.  Alden  Weir.    Room  85. 

317 


THE  DREAM  CITY 

Elizabeth  O.  Paxton  resides  in  Elmwood,  St. 
Newton,  Mass.    Room  117. 

Van  D.  Perrine  was  born  in  Garnett,  Kansas. 
Self  taught.  Silver  medal  from  Charleston  Expo. 
Honorable  mention  from  Pittsburgh.    Room  44. 

Marion  L.  Pooke.    Room  65,  69,  72. 

Henry  R.  Poore  was  born  in  Newark,  N.  J.  Pu- 
pil of  Peter  Moran ;  Penn.  Academy  of  Fine  Arts ; 
National  Academy  of  Design  in  New  York;  Lenni- 
nois  and  Bouguereau  in  Paris.  Member  of  numer- 
ous societies  and  received  some  good  prizes.  Rooms 
67,  118.  .  I 

E.  H.  Potthast  was  born  in  Cincinnati,  Ohio. 
Pupil  of  Cincinnati  Academy ;  studied  in  Antwerp, 
Munich  and  Paris.  Numerous  awards  and  mem- 
ber of  several  art  societies.    Room  55. 

Joseph  Rafael,  a  San  Franciscan,  resident  for 
many  years  in  Paris.     Rooms  44,  48,  67. 

Grace  Ravlin  was  born  in  Illinois.  Pupil  of  Art 
Institute  of  Chicago ;  Penn.  Academy  of  Fine  Arts ; 
at  present  with  Lefebvre-Foinet  in  Paris.  Rooms 
65,118. 

Henry  E.  Reutherdahl  was  born  in  Nealmo, 
Sweden. 

Mary  Curtis  Richardson  was  born  in  New  York. 
Pupil  of  Benoni  Irwin,  Virgil  Williams  and  Sar- 
tain.    Resides  in  San  Francisco.    Rooms  65,  56. 
318 


ITS  ART,  STORY  AND  SYMBOLISM 

L,  Ritman  resides  in  Paris,  France.  Pupil  of 
Robert-Fleury,  Corcomie,  De  Chemand  in  Paris. 
Room  117. 

Guy  Rose  was  born  in  Los  Angeles,  California. 
Resides  in  Giverny,  Eure,  France.  Pupil  of  Le- 
febvre.  Constant  and  Doucet  in  Paris.  Awards : 
Honorable  mention,  Paris  Salon,  and  several 
American  medals.    Rooms  'J2,  44. 

Charles  Rosen  was  born  in  Westmoreland,  Pa, 
Pupil  of  Chase,  Du  Mond  and  C.  F,  Jones.  Be- 
longs to  numerous  art  societies  and  has  received 
various  rewards.    Rooms  67,  71. 

Will  S.  Robinson  was  born  in  East  Gloucester, 
Mass.  Pupil  of  various  schools  and  teachers  in 
Boston,  France  and  Holland.  Awards :  Honora- 
ble mention,  Paris  Expo.,  and  numerous  medals 
from  the  United  States. 

Gretchen  W.  Rogers,  Fenway  Studio,  Boston. 
Rooms  60,  70,  117. 

C.  F.  Ryder  was  born  in  Danbury,  Conn. ;  resides 
in  New  York.  Pupil  of  Art  Institute  of  Chicago; 
Laurens  and  Collin,  Paris.  Honorable  mention 
from  Paris  Salon.    Room  69. 

A.  F.  Schmitt  was  born  and  lives  in  Boston. 
Rooms  37,  43,  44. 

Leopold  Seyffert  lives  in  Philadelphia.  Rooms 
44,  66. 

319 


THE  DREAM  CITY 

W.  H.  Singer  Jr.  lives  in  Laren,  Holland;  born 
in  Pittsburgh.    Room  y-^. 

H.  B.  Snell  was  born  in  Richmond,  England. 
Pupil  of  Art  Students'  League,  New  York.  Snell 
has  received  gold  and  silver  medals  and  several 
first  prizes.  His  works  are  in  Buffalo,  Worcester 
and  New  York.    Rooms  69,  119. 

G.  W.  Sotter  resides  in  Pittsburgh.     Room  74. 

Arthur  P.  Spear  was  born  in  Washington,  D.  C. , 
resides  in  Boston.  Pupil  of  Laurens  in  Paris. 
Rooms  72. 

.  Eugene  E.  Speicher  was  born  in  Buffalo,  New 
York.  Studied  in  Buffalo,  New  York  and  Europe. 
Rooms  68,  70. 

Julian  Story  was  born  in  Walton-on-Thames, 
England.  His  father  was  the  sculptor,  William 
Wetmore  Story.  Julian  Story  was  a  pupil  of  Duve- 
neck  in  Florence;  Boulanger  and  Lefebvre  in 
Paris ;  is  a  member  of  numerous  art  societies  in 
France,  England  and  the  United  States.  Has 
medals  from  Pan  American  Expo.,  Buffalo ;  silver 
medal  from  Paris  in  1900;  gold  medal  from  Berlin; 
third  medal  and  honorable  mention  from  Paris 
Salon.     Room  70. 

Leslie  P.  Thompson  is  from  Medford.  Mass. 
Pupil  of  Tarbell.    Room  80. 

320 


ITS  ART,  STORY  AND  SYMBOLISM 

D.  W.  Tryon  was  born  in  Hartford,  Conn. ;  re- 
sides in  New  York.  Pupil  of  Daubigny,  Jacques- 
son  de  la  Chevreuse,  A.  Guillemet  and  H.  Harpi- 
guies  in  Paris.  Tryon  has  innumerable  medals, 
belongs  to  many  artists'  societies  and  has  works  in 
Washington,  Detroit,  Pittsburgh,  New  York,  Phila- 
delphia, Worcester,  Toledo  and  other  cities.  Room 
49. 

Margaret  F.  Tyng.    Room  43. 

Eugene  P.  Ullman  resides  in  France  and  New 
York.  Pupil  of  Chase.  Member  of  societies  in 
Paris  and  the  United  States. 

Emily  R.  Waite.    Rooms  43,  68. 

H.  M.  Walcott  was  born  in  Connecticut.  Pupil 
of  National  Academy  of  Design  of  New  York; 
Julian  Academy  under  Constant  in  Paris.  Has  had 
honorable  mention  from  Paris  Salon ;  various 
medals  in  the  United  States.     Room  45. 

Lionel  Walden  was  born  in  Connecticut.  Pupil 
of  Carolus-Duran,  Paris.  Member  of  three  socie- 
ties in  Paris.  Awards  from  Paris  Salon,  London, 
exposition  in  Paris  in  1900.  Walden  is  a  Chevalier 
of  the  Legion  of  Honor,  France,  since  1910.  His 
pictures  are  in  Philadelphia,  Cardiff,  Wales  and  the 
Luxemburg,  Paris.     Rooms  55,   118. 

Everet  L.   Warner  was  born   in  Vinton,   Iowa, 

321 


THE  DREAM  CITY 

Pupil  of  Art  Students'  League,  New  York;  Julian 
Academy  in  Paris.  Several  awards.  Works  in 
Amsterdam,  Philadelphia  and  Washington. 

F.  J.  Waugh  was  born  in  New  Jersey.  Student 
of  Penn.  Academy  of  Fine  Arts;  Julian  Academy, 
Paris.  Works  in  Toledo,  Brooklyn,  Washington, 
Bristol,  England;  Liverpool  and  South  Africa. 
Rooms  73,  71. 

Daniel  Wehrschmidt. 

Theodore  Wendell,  Ipswich,  Mass. 

William  Wendt  was  born  in  Germany.  Self 
taught.  Several  silver  medals  and  prizes.  Works 
in  Cincinnati,  Chicago,  Indianapolis.     Room  67. 

Beatrice  Whitney. 

William  H.  K.  Yarrow  was  born  in  Glenside,  Pa, 
Pupil  of  Penn.  Academy  of  Fine  Arts  and  Henry  R. 
Rittenberg.  Member  of  French  and  American  Art 
societies.    Rooms  50,  51,  70,  119. 

BRONZE   MEDALS. 

Louis  Betts  was  born  in  Arkansas.  A  pupil  of 
his  father  and  has  studied  in  Paris.  Room  67,  wall 
C,  1 156. 

Dwight  Blaney.  Member  of  various  art  socie- 
ties.   Room  71. 

Frederick  A.  Bosley.  Resident  of  Boston.  Rooms 
55  and  71. 

3"2 


ITS  ART,  STORY  AND  SYMBOLISM 

Breclin  R,  Sloan.  One  of  the  eight  Independents. 
Room  51. 

Anne  M.  Bremer  was  born  in  San  Francisco. 
Pupil  of  Arthur  Mathews  at  Mark  Hopkins  Insti- 
tute of  Art  in  San  Francisco;  Aman-Jean  and 
Alcide  Le  Beau  in  Paris.    Rooms  50,  65,  117,  120. 

John  Breyfogle.  Pupil  of  Pennsylvania  Acade- 
my of  Fine  Arts  under  Chase  and  Anshutz.    Room 

50- 

Harold  Camp  resides  in  New  York.    Room  '^j. 

Alison  Skinner  Clark.  Pupil  of  Sinom  Cottel, 
Whistler,  Mucha  and  Merson  in  Paris;  Chase  in 
New  York.  Member  of  art  societies  in  Paris  and 
New  York.    Room  73. 

John  K.  Conner.  Pupil  of  Pennsylvania  Academy 
of  Fine  Arts.    Rooms  55,  56. 

Arthur  Crisp.  Pupil  of  Art  Students'  League, 
New  York.     Room  119. 

Randolph  Dirk.     Rooms  43,  117. 

Maynard  Dixon.    Rooms  43,  67. 

Wm.  Forsythe.  Pupil  of  Royal  Academy  in 
Munich  under  Loefftz,  Benczar,  Gysis  and  Liet- 
zenmeyer.  Medals  from  St.  Louis  and  Munich. 
Rooms,  49,  56,  117,  119. 

Wm.  J.  Glackens.  Pupil  of  Pennsylvania  Acade- 
my of  Fine  Arts  and  studied  extensively  in  Europe. 
Room  51. 

323 


THE  DREAM  CITY 

Mary  Brewster  Hazelton.  Pupil  of  Tarbell. 
Rooms  43,  46. 

Julia  Heineman,  a  resident  of  San  Francisco, 
studied  in  America  and  in  Europe  with  Sargenet 
and  others. 

Will  J.  Hyett.    Room  74. 

Alfred  Jurgens.  Studied  in  Chicago;  in  Munich 
with  Gysis  and  Diez.  Received  medals  from 
Europe  and  the  United  States.    Rooms  48,  71. 

William  J.  Kaula  was  born  in  Boston,  1871. 
Studied  in  Boston  and  Paris.    Room  74. 

Abraham  Kroll  was  born  in  New  York,  1884. 
Studied  in  New  York  and  Paris.    Rooms  68,  71, 

Evelyn  McCormick.     California.     Room  55. 

Perham  Nahl.  U.  C,  Berkeley,  California. 
Room  43. 

Gertrude  Partington.     California.     Room  72. 

Lilia  Cabot  Perry  (Mrs.  Perry)  was  born  in 
Boston.  Pupil  of  Julian  and  Colorassi  Academies, 
Paris.  Received  various  medals.  Rooms  25,  48, 
65,  69. 

Frank  C.  Peyraud  was  born  in  Switzerland. 
Studied  in  Chicago  and  Paris.     Room  45. 

Lazar  Raditz.    Room  70. 

Lee  Randolph.     California.    Rooms  37,  43. 

Alice  Mumford  Roberts.  Pupil  of  De  Camp, 
Carl  Newman  and  Robt.  Henri.  Rooms  55,  72,  117. 
324 


ITS  ART^  STORY  AND  SYMBOLISM 

Albert  Rosenthal  was  born  in  Philadelphia. 
Studied  in  Philadelphia;  Paris  under  Gerome,  and 
in  Munich.  Received  various  medals  and  awards. 
Room  48. 

Ernest  D.  Roth  was  born  in  Stuttgart,  Germany. 
Studied  in  Philadelphia.    Room  46. 

Howard  Smith,    Room  69,  71. 

Alice  Schille,  Student  with  Chase  and  Cox ; 
Prinet,  Collin,  Courtois,  Colorossi  Academy  in 
Paris.    Received  various  awards.    Room  37. 

A.  W.  Sparks.    Room  74. 

Carrol  Sargeant  Tyson  studied  with  Chase  and 
Cecelia  Beaux ;  Carl  Marr,  Walter  Thoer  in  Mu- 
nich.   Room  71,  79. 

J.  Van  Sloun.    San  Francisco.    Room  72. 

Robt.  Wagner.    Room  55. 

SCULPTURE — MEDALS    OF    HONOR. 

Herbert  Adams  was  born  in  Concord,  Vermont. 
Studied  in  Boston  and  with  Merci  in  Paris.  Room 
66. 

Daniel  C.  French.  Pupil  of  Rimmer  in  Boston ; 
J.  Q.  Ward  in  New  York;  Thos.  Ball  in  Florence. 
Room  66. 

Karl  Bitter.  Written  of  fully  elsewhere.  Room 
66. 

325 


THE  DREAM  CITY 
GOLD   MEDALS, 

Cyrus  Dallin.  Studied  in  Paris  with  Chopec  and 
Dampt.    Rooms  25,  36,  35,  82,  85. 

James  E.  Fraser.  Pupil  of  Falguiere  in  Paris, 
Received  awards  in  Paris;  medals  in  New  York, 
Ghent,  Rome.    Room  66. 

i\lbert  Laessle.     Rooms  57,  67. 

Paul  Manship.  Studied  in  America  and  Rome. 
Room  93. 

Attilio  Piccirilli.     Studied  in  Rome.     Room  66. 

Bela  Pratt.  Studied  in  Yale  Fine  Arts  School, 
under  Niemeyer;  with  Weir,  St.  Gaudens,  Elwell, 
Chase  and  Cox  in  New  York.  Falguiere  and 
Chopin  in  Paris.  Numerous  and  various  awards. 
Rooms  61,  66,  89. 

A.  Phinister  Proctor.  Studied  in  New  York  and 
in  Paris  where  he  received  various  awards.  Rooms 
72,  35- 

Arthur  Putnam.     San  Francisco.    Room  67. 

F,  G.  R.  Roth.  Studied  in  Vienna.    Rooms  45,  66. 

WATER  COLORS,  MINIATURE  PAINTINGS 

AND  DRAWINGS. 

United  States  Section. 

Medals  of  Honor — Lillian  Westcott  Hale,  Laura 

Coombs  Hills,  Henry  Muhrmann,  Frank  Mura,  F. 

Walter  Taylor,  Charles  H.  Woodbury. 

Gold  Medals — William  Jacob  Baer,  Jules  Guerin, 
326 


ITS  ART,  STORY  AND  SYMBOLISM 

George  Hallowell,  Charles  E.  Heil,  Arthur  I.  Kel- 
ler, Henry  McCarter,  F.  Luis  Mors,  Alice  Schille, 
Henry  B.  Snell,  N.  C.  Wyeth. 

Silver  Medals — W.  T.  Benda,  Arthur  Byne,  Eda 
N.  Casterton,  Colin  Campbell  Cooper,  Sally  Cross, 
Mrs.  Sargent  Florence,  William  Forsythe,  Eliza- 
beth Shippen  Green,  Charlotte  Harding,  Mary  Har- 
land,  Cecil  Jay,  Charles  S.  Kaelin,  Anna  B.  W. 
Kindlund,  William  L.  Lathrop,  Lucia  B.  Mathews, 
David  Milne,  Selma  M.  D.  Moeller,  Herman  Dud- 
ley Murphy,  Thornton  Oakley,  Elsie  Dodge  Pat- 
tee,  Heloise  G.  Redfield,  Alexander  Robinson,  Don- 
na Schuster,  Clare  Shepard,  Jessie  Wilcox  Smith, 
Emily  Drayton  Taylor,  Mabel  R.  Welch,  George 
Alfred  Williams. 

Bronze  Medals — Ethel  Betts  Bains,  Anna  Whe- 

lan  Betts,  Percy  Gray,  Anna  Lynch,  May  Wilson 

Preston. 

Etchings  and  Engravings. 

Grand  Prize — Henry  Wolf. 

Medals  of  Honor — D.  A.  Wehrschmidt,  C.  Harry 
White. 

Gold  Medals — Gustav  Baumann,  Allen  Lewis, 
D.  Shaw  MacLaughlin,  J.  Andre  Smith,  Cadwalla- 
der  Washburn,  Herman  A.  Webster. 

Silver  Medals— C.  W.  Chadwick,  Clark  Hobart, 
J.  W.  Evans,  Edna  Boise  Hopkins,  Earl  Horter, 
327 


THE  DREAM  CITY 

Bertha  Lum,  Perham  Nahl,  B.  J.  O.  Norfeldt, 
Ralph  Pearson,  Ernest  Roth,  Worth  Ryder,  George 
Senseney,  Dorothy  Stevens,  Dwight  S.  Sturges, 
William  G.  Watts. 

Bronze  Medals — Clifford  T.  Adams,  George  C. 
Aid,  Antonio  Barone,  Benjamin  Brown,  M.  Eliza- 
beth Col  well,  Arthur  S.  Covey,  Arthur  Dow,  Anne 
Goldthwaite,  Louis  C.  Griffith,  Ernest  Haskell, 
Helen  Hyde,  Bertha  E.  Jacques,  Katherine  Kim- 
ball, William  A.  Levy,  George  C.  Plowman,  Isa- 
belle  C.  Percy,  John  Sloan,  Helen  B.  Stevens,  J.  C. 
Vondrous,  Everett  Warner,  Franklin  Wood. 

Honorable  Mention — O.  Cotton,  Charles  W. 
Dahlgreen,  Charles  B.  Keeler,  Pedro  J.  Lemos, 
Beatrice  Levy,  Xavier  Martinez,  Margaret  Patter- 
son, E.  K.  K.  Wetherell. 

Sculpture. 

Medals  of  Honor — Herbert  Adams,  Karl  Bitter, 
D.  C.  French. 

Gold  Medals — Cyrus  E.  Dallin,  James  E.  Eraser, 
A.  Laessle,  Paul  Manship,  Attilio  Piccirilli,  Bela 
Pratt,  A.  Phinister  Proctor,  Arthur  Putnam,  F.  G. 
R.  Roth. 

Silver    Medals — Robert    Aitken,    Chester    Beach, 

John  J.  Boyle,  Edith  W.  Burroughs,  Sherry  Fry, 

Anna  Hyatt,  Sargent  Kendall,  Beatrice  Longman, 

Furio  Piccirilli,  Albin  Polasek,  Edmond  T.  Quinn, 

328 


ITS  ART,  STORY  AND  SYMBOLISM 

Victor  Salvatore,  Janet  Scudder,  Lorado  Taft,  Bes- 
sie P.  Vonnon. 

Bronze  Medals — Edward  Berge,  Edward  W. 
Deming,  Abastenia  St.  L.  Eberle,  Eli  Harvey,  Karl 
Heber,  Henry  Hering,  Albert  Jaegers,  W.  Mazur, 
Olga  Popoff  Muller,  R.  H.  Recchia,  C.  C.  Rumsey, 
L.  M.  Sterling,  Mrs.  H.  P.  Whitney,  Emil  R. 
Zettler. 

Honorable  Mentions — Vincenzo  Alfano,  John 
Bateman,  Clyde  C.  Bathhurst,  Gail  Sherman  Cor- 
bett,  Henri  Crenier,  Percival  Dietsch,  Beatrice  Fen- 
ton,  Harriet  W.  Frishmuth,  Annetta  Saint  Gau- 
dens,  Margaret  Hoard,  Malvina  Hoffman,  Antoi- 
nette B.  Hollister,  Victor  L.  Holm,  Anna  Coleman 
Ladd,  Arthur  Lee,  R.  Tait  McKenzie,  Helen  Mears, 
Robert  T.  Paine,  William  O.  Partridge,  C.  L.  Pie- 
tro,  Alexander  Portnoff,  Amory  C.  Simons,  R. 
Stackpole,  Edgar  Walter. 

Medals. 

Medal  of  Flonor — John  Flanagan. 

Gold  Medals— James  E.  Eraser,  H.  A.  MacNeil. 

Silver  Medals — Victor  T.  Brenner,  Richard 
Brooks,  Frances  Grimes,  Henry  Hering. 

Bronze  Medals — Gail  S.  Corbett,  Edward  W. 
Sawyer,  Spicer  Simpson. 

Honorable  Mentions— J.  Maxwell  Miller,  H.  Ry- 
den,  Leila  Usher. 

329 


Genius    of    Creation — French 

330 


CREATION. 

A  boundless  sea,  a  formless  mass; 

A   darkness   dense,  which   no   lights   pass; 

No  sound  of  joy,  no  thrill  of  hope — 

Just   space  on   space  where  wild  winds  grope. 

Then   there  came  a  brightening  mild, 

Creation's  Angel  sweetly  smiled; 

And  o'er  this  vast  chaotic  gloom 

Came  light  which  drove  the  dark  to  doom. 

A  million   stars  were   given   to   night, 

Day  was   blessed  with   its   sun   so   bright; 

These  were  the  first  in  this  great  scheme. 

These   but  began   Creation's  dream. 

The  peaceful  Angel,   calm  in  thought, 

Worked  on  until  a  whole  was  wrought. 

When  the  land  gave  rich  fruit  and  flowers, 

And  birds  gave  concerts  in  its  bowers; 

When   sea  and   sky  were  given  voice 

And  all  were  bidden  to  rejoice. 

The  Angel  looked   down   from   above 

And  felt  the  need  of  greater  love; 

She   scanned  with  joy  this   dominion. 

Then  flew  away  on  swift  pinion. 

And   straight   from   Heaven   she   brought  man, 

God's  gift  in   this  tremendous  plan. 

Of  all  this  world  man  stood  the  King, 

Man,  the  master  of  everything! 

God   waited — thinking   he   would   raise 

His  voice  in  loud  and  grateful  praise, 

But  strange  he  stood  in  silent  awe. 

Nor  comprehended  aught  he  saw. 

Then  God  unto  the  Angel  spake: 

"His  dreadful  silence  we  must  break; 

A  god,  I  thought  this  man  would  be; 

331 


A  god  just  like  to  thee  and  me." 

The  Angel  looked  on  God  and  said: 

"The  man's  alone,   the  man  is  dead." 

Tenderly   God   whispered,   "Wait, 

I'll  make  unto  this   man  a  mate; 

And  man  and  wife  the  two  shall  be, 

Then  they  will  be  like  thee  and  me." 

"But  that's  to  suffer,  that's  to  know, 

That's  to  fill  his  life  with  woe; 

Is  there  then  no  other  thing — 

No  other  blessing  we  could  bring?" 

And  then,  once  more,  the  great  God  spake: 

"Yes,  they'll  suffer,  their  hearts  will  break. 

But  in  time  I  will  create 

Sufficient  joy  to  compensate. 

Over  all,  these  two  shall  reign, 

Over  sickness,   death  and  pain;  ! 

They  shall  seek  and  strive  and  win, 

Theirs  the  mastery  over  sin. 

Like  to  us  their  kind  they'll  make. 

Often  sorrowing  for  their  sake. 

But  I  know  it  will  be  well. 

What  more  they'll  do  I  scarce  can  tell; 

To  strange  inventions  they'll  give  birth, 

Their  thought  and  voice  shall  gird  the  earth; 

And  in  the  air  like  birds  they'll  fly. 

And  always  as  the  days  go  by 

Yours  must  be   the  glorious   task 

To  bless  and  grant  them  what  they  ask; 

The  wisdom  for  this  splendid  pair 

Shall  be  sent  from  Heaven  fair. 

It  will  be  theirs  to  do  and  try, 

It  will  be  theirs  at  last  to  die. 

But  having  lived  they  will  have  learned 

Death's  the  great  victory  they've  earned." 

332 


CONTENTS. 

Page 

Introduction   3 

Chief    of   Departments ;  4 

Architects  and  Their  Work 5 

Mural   Painters    6 

Sculptors   7 

Plan  of  Grounds  (cut) 10a 

The   Panama-Pacific   International   Exposition 11 

Illumination    17 

Symbolism    21 

Fountains  of  Youth  and  Ceres   (Illustration) 29 

Aitkens — Air  and   Earth    (Illustration) 35 

Panels — Column    of   Progress    (Illustration) 39 

Panels — Column    of   Progress    (Illustration) 41 

Adventurous    Bowman-MacNeil    (Illustration) 44 

Weinman's    Rising   Sun    (Illustration) 47 

Weinman's  Setting  Sun   (Illustration) .  48 

The  Arches  of  the  East  and  West  (Illustration)...  51 

Murals — by  Dumond  and  Simmons  (Illustration)..  55 

Pursuit  of   Pleasure — HoUoway    (Illustration) 65 

Eraser's  End  of  the  Trail  (Illustration) 69 

The  Court  of  Flowers 70 

Portal — Varied    Industries    (Illustration) 71 

Court  of  the  Ages 72i 

Tower — Court  of  the  Ages  (Illustration) 74 

Helios  and  Creation — Fountain  of  Earth   (Illustra- 
tion)      82 

Panels — Fountain   of   Earth    (Illustration) 86 

Evolution  of  Woman  and  Man  (Illustration) 92 

Machinery   Hall    96 

Bases  of  Column — Patigian   (Illustration) 98 

333 


Page 

Palace  of  Fine  Arts    (Illustration) 100 

The  Fine  Arts  Building  and  Surroundings 101 

Colonnade  of  Fine  Arts    (Illustration) 108 

Floor  Plan  of  Fine  Arts  (Illustration) 109 

Entrance  to  the  Fine  Arts 110 

Calder  and   his   Star — Grafly  and  bust   of  Redfield 

(Illustrations)   113 

Japanese    Section    115 

French    Section    119 

Italian   Section    122 

Cuban    Section    126 

French  Art  in  French  Building  in  Fine  Arts 128 

Short  Sketch   of  Art   History 136 

Art  of  Colonial  Times 155 

West's   "Magdalene"    (Illustration) 157 

Gen.    Dearborn — Stuart    (Illustration) 161 

Mrs.   Oliphant — Morse    (Illustration) 166 

The   Barbizon  School . .' 171 

Hudson    River    School 176 

Durand's   Storm   in   CatsWills    (Illustration) 177 

"Windy  Day"— Wyant   (Illustration) 181 

The    Impressionists    185 

Girl  in  the  Sun — Robinson  (Illustration) 194 

The  Ten  American   Painters 196-216 

Gloucester  Harbor — Hassam    (Illustration) 198 

Blossom    Time — Metcalf    (Illustration) 202 

Chase's    Self  Portrait    (Illustration) 206 

Tarbell's — Girl    Sewing    (Illustration) 213a 

Interior  by  Tarbell    (Illustration) 216 

California  Paintets  in  the  Fine  Arts 217 

Duveneck's — Prof.    Loeflfts    (Illustration) 229 

Duveneck — by  De   Camp   (Illustration) 233 

Men   of   No   School 234 

Melcher's   Mother  and  Child   (Illustration) 239 

334 


Page 

Etching  and   Print   Department 240 

American    Illustrators    249 

National   Fine  Arts   Exhibits — 

Chinese    252 

Philippine 253,  260 

Swedish   254 

Argentine    257 

Holland    258 

Portuguese   260 

The    Women's    Room 262 

Mother  and  Child — Mary  Cassatt   (Illustration)...  264 
Young  Mother — Mary  Curtis  Richardson  (Illustra- 
tion)      273 

The    Boston    School 275 

Hale's  Tower  of  Ivory  (Illustration) 276 

International   Section    278 

Post-Impressionism,    Futurism,    Cubism 283 

Medal  List — 

The  Jury  of  Awards 290 

Grand    Prix    293 

Medals  of  Honor 296-308 

Silver    Medals 308-322 

Bronze   Medals    322-325 

Sculpture — Medals    of    Honor 325 

Sculpture — Gold    Medals    326 

Water    Colors,    Miniature    Paintings    and    Draw- 
ings      326 

Etchings    and    Engravings 327 

Sculpture   328 

Genius   of  Creation — French    (Illustration) 330 

Creation    (Poem)    331 

335 


61- 


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